An employee of the Union Bank of India, Gupt’s alternate existence as a theatre critic kept him busy — he wrote articles and reviews for The Sunday Mail, India Today, and Navbharat Times. His passion began by sheer accident, when Gupt began collecting brochures in the early sixties. The earliest brochure dates back to 1956, one of Mukhya Mantri’s play Udyanchal Times.

Soon, others followed. Habib Tanvir’s Mitti ki Gadi, Hayvadan, different productions of Othello (including one in which Amitabh Bachchan played Casio), Insaf Ka Ghera, Andha Yug, and Hori, Utpal Dutt’s PLT, Aadhe Adhure with Amrish Puri, and many more.

But it wasn’t before 1991 that Gupt exhibited his collection of brochures and journals, the occasion being the World Theatre Day at the Soviet Cultural Centre in Delhi. In order to share his study of brochures and posters alike, Gupt then conceived and designed a 30-minute multimedia presentation comprising a presentation of all the printed material, along with the original soundtrack of plays as well as a voice-over narrating the history and development of theatre — both in India and elsewhere.

“He wanted to create an understanding of the importance of brochures in theatre history,’’ daughter Mahima says. “How a brochure discusses and conveys the artiste’s philosophies. Also, various interpretations of the same play conveyed by different directors.” The presentation classifies brochures into various categories such as traditional, regional, experimental, modern Indian theatre, world stage, and poster-cum-brochure.

“Many interesting and notable things came to light while researching for the presentation,” Mahima says. “For instance, many theatre groups and directors conducted interesting experiments with designs for the cover or the other illustrations or content and also carefully chose their ‘notes of production’ in order to underline the historical importance or contemporary relevance of their productions.

“They would make good use of painting, drawing, colour and black-and-white photography, typography, collages and montages, juxtaposing these forms within single works and constantly seeking out new solutions and inspirations.”

Mahima also speaks of brochures where the set designer, dress designer and music composer were given space to explain their work. Such brochures often carried photographs of set designs, costumes, lighting and rehearsals.