The idea of the ‘folk’ in Indian theatre has often been understood as a residual category, associated with rural, oral, and tradition-bound practices that stand in contrast to the modern, urban, and literate. However, the theatrical vision of Habib Tanvir radically redefines this understanding by positioning the folk not as static or primitive, but as dynamic, contemporary, and politically potent. Through his work with the Naya Theatre company and his deep engagement with Chhattisgarhi performers, Tanvir articulates a conception of the folk that is fluid, dialogic, and resistant to rigid hierarchies of culture. For Tanvir, the ‘folk’ is not merely a repository of inherited forms, but a living practice shaped by the everyday experiences of ordinary people. He rejects the dichotomy between folk and modern, arguing instead that folk traditions possess an inherent adaptability that allows them to engage with present realities. His productions demonstrate that folk performance is not frozen in time; rather, it evolves through interaction with changing social, political, and cultural contexts. This understanding challenges the dominant narrative that sees folk culture as something to be preserved in its “pure” form, untouched by modern influences. One of the key ways Tanvir reimagines the folk is through his use of non-professional actors drawn from rural communities, particularly from Chhattisgarh. These performers bring with them not only their linguistic and performative skills but also their lived experiences, which become integral to the theatrical process. Unlike conventional theatre, where actors are trained to embody characters through scripted techniques, Tanvir’s actors often draw upon their own cultural memory and improvisational abilities. This results in performances that are organic, spontaneous, and deeply rooted in