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Until about the end of the 19th century, the adhikari used to write the play. By the beginning of the 20th century, however, jatra texts began to be written by individuals outside the troupe. The adhikari would either buy the text outright or would pay a royalty. Another change that took place at this time was the introduction of the character of Vivek (Conscience).
A major change in jatra took place after the First World War when nationalistic and patriotic themes became incorporated into the jatra. Though religious myths and sentimental romances continued to inspire the jatra, the nationalistic and patriotic spirit of Bengal also found its expression in the jatra. Mukunda Das (1878-1934) and his troupe, the Swadeshi Jatra Party, performed jatras about colonial exploitation, patriotism and anti-colonial struggle, oppression of feudal and caste system etc. In the 40s, when the struggle for independence from colonial rule was nearing its climax, the socio-political content of jatra superseded the religious-mythical theme. A major change that took place around this time was in the induction of actress to enact female roles.
The Partition of Bengal in 1947, however, seems to have adversely affected jatra. Most of performances were of historical plays, with a vague sense of nationalism and patriotism, or melodramatic social plays. There was a dearth of playwrights to write for the jatra. However, jatras continued to be performed. Particularly popular during this period, especially in the southern district of Barisal, was Gunai Jatra, based on the tale of a village maiden named Gunai Bibi. The tradition of religious tales continued, in the form of Bhasan Jatra and Krishna Jatra, both of which were dominated by songs and music.
Jatra today is performed on a rectangular platform (usually, 18' x 15' or 20' x 18'), open on all four sides, about three feet high and erected temporarily for the performance. Musicians sit on two opposite sides of the platform. Spectators sit around the stage, with a section of the space being reserved for women. The whole space is covered and enclosed. About two hours before the performance, between nine or ten in the evening, a stage attendant rings a bell signifying that the show is about to begin. After the second bell, the musicians take their positions and begin playing as a signal that the show is about to begin. Following a fifteen minute break, a third bell is sounded and a fast paced 'concert' commences. This is followed by a patriotic choral song sung by the troupe's dancer-singers. This patriotic choral song was a post-47 feature of jatra in East Pakistan and replaced the earlier tradition of Hindu devotional songs. The patriotic choral song is usually followed by an hour long variety show, incorporating songs, dances and comic interludes. After the variety show ends, around midnight, a fourth bell is rung following which the performance proper begins.
A jatra performance lasts about four hours and is divided into five acts, an influence of the 19th century colonial theatre. Following each act, the prompter rings a bell to signal the end of each act. During the intervals between acts, there are songs, dances and comic displays. The performance ends slightly before day-break.
A large capital is required to organize a good jatra troupe. Normally, a jatra troupe consists of 50/60 persons, including actors and actresses, dancers, singers, musicians, technicians, managers, cooks, servants etc. The reputation and fame of a jatra troupe depends mainly on the standard of the actors-actresses and the dance artists.
Generally jatra troupes rehearse from the month of Shravan to Ashvin, sometimes to Falgun. Jatra troupes travel from place to place on the occasion of durga puja in the month of Asvin. For this the performance-contracts are signed long before the occasion.
Jatra was an important form of entertainment in the past. Nowadays it has been replaced by many modern forms. The tastes of audiences have also changed. Thus the demand for jatra has diminished to a great extent. Jatra performances are therefore being modified. Social and contemporary subjects juxtapose historical and mythological stories. Modern stage techniques are also modifying the manner of speaking, costumes, musical instruments, make up, stage, lights etc. At the same time, contemporary Bangla theatre is drawing upon the indigenous jatra. In place of western, text-based drama, the mixture of dance-song-performance of the jatra is lending a unique strength to contemporary Bangla drama.