Gagged Songs of Untouchables, RUDDHA SANGEET
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Buddha focuses on Third Front at S Kolkata rally
Central force set to make a comebackKolkata Newsline - 16 hours ago Kolkata The state government is mulling over deploying central forces in Nandigram. Chief Minister Buddhadeb Bhattacharjee held an emergency meeting on the ... Buddha focuses on Third Front at S Kolkata rallyTimes of India - 15 hours ago Explaining the reasons behind the post-poll violence in West Bengal, Bhattacharjee said: "Violence in Lalgarh, Nandigram and Darjeeling are all ... Nandigram's victims laid to rest, unrest brews in villageExpressindia.com - May 9, 2009 Nandigram Nearly 1000 villagers, including those who have been driven out of their homes in Sateng-abari, today walked nearly 15 km from Mahespur to bury ... 3 more killed, Nandigram simmers The Statesman Poll over but battle rages Times of India Nandi CPM duo lynched Calcutta Telegraph Troublespot Nandigram turns out in forceTimes of India - May 7, 2009 Interestingly, Nandigram recorded a huge turnout of 86%. The tension in the cadre was palpable as clashes broke out and several places virtually turned into ... Thirteen injured in post-poll violence in Nandigram Press Trust of India Singur, Nandigram gear up for key roles in Act II Economic Times Biman clueless about NandigramTimes of India - May 9, 2009 KOLKATA: Left Front chairman Biman Bose on Saturday said he was ignorant of the kind of violence that has rocked Nandigram after the election as he did not ... Won't join NDA, says Mamata Economic Times Mamata has the edge Hindu Trinamul,CPM agree on peaceThe Statesman - 18 hours ago TAMLUK, May 10: Following the exodus of hundreds of families from various parts of Nandigram-I block from their homes over the past two days and clashes ... Parties put Nandi cops in dock Calcutta Telegraph Anger vs organisation Calcutta Telegraph Third Front will expand after polls: Biman BoseHindu - May 9, 2009 As for Nandigram, he said that all the while, the Left had said democratic rights were being curtailed in Nandigram. “During elections what they wanted to ... Film on Nandigram unrest to be shot at PanchganiTimes of India - May 9, 2009 The unit will now shift to Wai near Panchgani, Maharashtra, which, according to director Ujwal Chatterjee, has the same feel as Nandigram. ... Horns locked over Nandigram turfTimes of India - May 3, 2009 And never before in their three decades of rule, has the Left Front faced a stiffer resistance till Nandigram erupted two years ago. ... Will Nandigram see red again? Express Buzz Nandigram: One held for TMC leader's murder Kolkata Newsline US-bashing betrays Left minority jittersCalcutta Telegraph - 18 hours ago The Opposition's campaign over the Singur-Nandigram issues whipped up fears that poor Muslim peasants would be the worst victims of the Left Front ... |
Dayaheen sangsare.
Tara bole gelo 'kshama karo sabe', bole gelo 'bhalobasho'
'Antara hote bidwesh-beesh nasho.'
Baraneeya tara, smaraneeya tara, tabuo bahir dware
Aji durdine phiranu tader byartha namaskare.
Ami je dekhechhi gopan hingsa kapat-ratri chhaye
Henechhe nih-sahaye.
Ami je dekhechhi pratikar-heen, shakter aparadhe
Bicharer baani nirabe nibhrite kande.
Ami je dekhinu tarun balak unmad hoye chhute
Ki jantranay marechhe pathare nishphal matha kute.
Kantha amar ruddha ajike, banshi sangeet-hara
Amabasyar kara
Lupta karechhe amar bhuban duswapner tale
Tai to tomay shudhai asrujale
Jahara tomar bishaichhe bayu, nibhaichhe taba alo
Tumi ki tader kshama kariachho, tumi ki besechho bhalo?
Age after age, hast Thou, O Lord, sent messengers again and again
into this pitiless world.
And they have said 'Forgive all', said 'Love.'
'Kill rather the poison of hatred inside you.'
Worth admiration, worth remembrance, all; yet I turn them away
With failed greetings from my door on this dark day.
For I have seen secret hatred murder the helpless
Under the shade of hypocrisy
For I have seen redressless crimes of the powerful
Make silent justice weep furtively.
For I have seen frenzied young boys
Die in agony dashing their heads against stone, to no use.
My voice is choked today, my flute songless
A black moonless prison
Has submerged my world into a nightmare.
So in tears I ask Thee:
Those who poisoned Your air, those who extinguished Your light,
Is it that You have forgiven them? that You have come to love them?
-- Gitanjali.
| Bratyajaner Ruddha Sangeet (Gagged Songs of Untouchables) by Debabrata Biswas |
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| Indian cards are accepted. Your transaction would be charged in INR |
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| 2002 (7th Reprint), HB |
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| Synopsis |
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| This is an Autobiography of a Rabindra Sangeet singer, Debabrata Biswas, who was opposed by orthodox Tagorians. |
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| Author Information |
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A celebrated Rabindra sangeet singer
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| Contribution |
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| A celebrated singer of Tagore’s songs, whose style of singing was vehemently opposed by the orthodox Tagorians. Undaunted, Debabrta carried his crusade and won million hearts in India and abroad. One of the members of the IPTA, a progressive cultural group, Debabrta in his life time became an icon. His autobiography, ‘Bratyajaner Ruddha Sangeet (Gagged Songs of Untouchables)’ tells all about the people around him and the happenings he went through. |
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Lending support and voicing strong opinions is not new to West Bengal, but it has mostly been confined to peaceful activism for nuclear disarmament or stance against imperialism. Bengal's cultural community has always voiced anti-war, anti-Vietnam and other largely global issues over the years.
But now the cultural divide is showing. If the Trinamool garners support from a section of writers, TV personalities and artists, the Left organises elaborate shows with classical vocalists like Rashid Khan, famous magician PC Sorcar, Salil Chowdhury's daughter Antara, noted citizens in a programme saying, "Hum Sab Bam morcha ke saath hai, aap bhi saath de (We are all with the Left Front. You, too, support us".
Ritwick Ghatak makes CPM nervous in Kolkata
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Subrata Nagchoudhury
Posted: May 10, 2009 at 0436 hrs IST
Kolkata Play portraying Ghatak, Jyoti Basu, Promode Dasgupta, slams CPM’s ‘repression’, touches many a nerve in the party
* “When your party will sit in power, can you guarantee that they will not open fire on the masses?”
* “Yes, it will never happen. Our party can never open fire on rural agricultural farmers and mill workers.”
* “Let’s see, I believe from my heart...power is power. Power kills you. And it also justifies killing. That’s the irony of power.”
This is a dramatic exchange between two actors — one playing legendary filmmaker Ritwick Ghatak and the other the avant garde Tagore exponent and Communist dissenter Debabrata Biswas — in a theatre production based on Biswas’s work Bratyajoner Ruddha Sangeet (Stifled Songs of the Outcast).
Opening just before the Lok Sabha elections, the play, with its stinging indictment of the CPM establishment in the state, has tapped into a fierce debate between intellectuals in the run-up to voting next Wednesday.
The play has created ripples across the political and cultural spectrum especially after a report in CPM party organ Ganashakti last month suggested that artists critical of the state government were “under watch.” That prompted the forum of intellectuals against the CPM to issue a statement against the “veiled threat” by the ruling Marxists.
The play strives to capture what it calls the “ruthless domination” of cultural personalities in West Bengal under a repressive Communist regime. And what has touched many a nerve in the comrades is that its dramatis personae includes, among others, real-life characters Jyoti Basu, Promode Dasgupta and their adversaries like Ghatak, Suchitra Mitra, Salil Choudhury and Biswas himself.
At the heart of the play is Biswas. Born in 1911 in Mymensinha (now in Bangladesh) in undivided Bengal, Biswas was a party cardholder who became disillusioned with the Communists and began to sever his links in the mid- 1950s. Just before his death two decades ago, Biswas expressed his anguish with the party in his autobiography Bratyajoner Ruddha Sangeet.
The play, by the same name, is scripted and directed by Bratya Basu, a Bengali professor in a city college. Since its launch on March 20, it’s playing to packed galleries at the Academy of Fine Arts. Its sixth show is scheduled for this evening.
Said a senior bureaucrat of the Information and Cultural Affairs department who has seen the play: “It needs courage for the author to present leaders who are still living. But I have reservations about the Ritwick episode in the play. It has been reported to Buddhababu. Many in the government are not happy. Action, if any, may follow after the polls.”
That’s a reference to a scene in the play when Ghatak had to face a Communist party commission on 23 counts of misconduct that included “cheating, drinking, moral degradation, instigating workers to break strike.” The scene of the commission chaired by Jyoti Basu, Promode Dasgupta and Nirmal Ghosh captures a gripping verbal duel between the trio and Ghatak. It ends with Ghatak shouting at Dasgupta: “Comrade Promode Dasgupta, I am Ritwick Ghatak...I am telling you, you are feudal. You consider party members as your own bonded labourers.”
When contacted, Ramala Chakrabarty, wife of Subash Chakrabarty, CPM Minister for Sports, and the chief patron of Pather Panchali, a socio-cultural organisation, said: “We have heard that Jyotibabu and other senior leaders of our party have been cast in a poor light in the play. Bratya (the director) is a wasted talent. He’s trying to gain cheap popularity and has joined the civil society bandwagon that’s seeking change.”
Veteran actor Soumitra Chatterjee, believed to be close to the Left, ducked the issue. “I have not seen the play,” he said, curtly. “I do not intend to see it ever.”
Bratya Basu is a known CPM-baiter. He staged another play Winkle Twinkle regarded as a remake of Rip Van Winkle in which the author sought to portray the “broken hopes of a promised revolution” through a protagonist who wakes up after a 26-year slumber. The cast in that play included a character called Buddhadeb Bhattacharya — a not-so subtle reference to the Chief Minister — who is put in the dock and reminded of the “failed revolution.”
However, the new play comes against the backdrop of a sustained campaign by a section of the city’s artists since the Singur land acquisition and the Nandigram police firing. That campaign now has a new twist timed for the Lok Sabha elections: “Vote for Change.”
Said Shaonli Mitra, a renowned theatre personality: “There is a suffocating pressure from the ruling party in all spheres of life. I have personally toured extensively in the past two years to see the ground reality for myself. It is pathetic. We are not regimented, we do not want to be in anyone’s good books. We want change.”
In fact, this intellectual pressure group even released a poll manifesto with signatories including author Mahasweta Devi, Shaonli Mitra, filmmaker Aparna Sen, playwright Bivash Chakrabarty, academic Sunanda Sanyal, former bureaucrat Debabrata Bandopadhyay, singer Pratul Mukhopadhyay and artists Jogen Chowdhury and Suvaprasanna.
Releasing the manifesto, Mahasweta Devi said: “State terror has been let loose from Keshpur to Nandigram and from Singur to Lalgarh. These people (read the Communists) do not believe in democracy. Decade after decade, they have been running an autocratic single-party rule. They have entangled everything like an octopus... we need to change this. We need to change this for the sake of a healthy society, culture and for humanity. Let us open a new chapter.”
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He said these parties parties should not be underestimated as they "are support-based and they fulfil the aspirations of the people. We are talking to them. These parties have an important role to play in government formatation."
He also said that during the election it was not possible to work out common policies with regional parties. "After the elections, we will formulate these policies."
Speaking about the prospects of a Third Front government coming to power, Karat said "I am 100 per cent confident. We are talking with different political parties. "Many people were not believing that the Third Front will come into being before the Lok Sabha polls. Now, it is clear that the Third Front is a reality. The Third way is possible," he said.
Kolkata The Left parties don't consider Congress as "untouchable" but are trying to form a Third Front government at the Centre and may join it if they can play a meaningful role in it, West Bengal Chief Minister Buddhadeb Bhattacharjee said Monday.
He parried a question on the issue of supporting a Congress-led government, saying, "It is too early to comment who is going to support whom. At the moment we are trying to form a government without Congress and BJP".
Asked whether the CPI(M) considers the Congress to be untouchable, he said, "We don't believe in untouchability."
Bhattarcharjee said, "We are trying to form a Third Front government at the Centre with like-minded secular and democratic parties and the Left will play a meaningful role in it. "The Left will join a Third Front government if it can play a meaningful role in policy making and implementation," the Chief Minister told the 'meet the press' programme here.
Indian filmmakers’ latest fascination is with politics
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Dipti Nagpaul D’Souza
Posted: May 08, 2009 at 1027 hrs IST
New Delhi The box office may be out of action right now but with the general elections still going on, filmmakers are busy keeping close tabs and lapping up all the information for a possible plot for their films. Indian politics has never failed to intrigue the masses and filmmakers alike. But a renewed passion for the genre is evident as some half-a-dozen films centred on politics are in the making right now.
While Prakash Jha’s Rajneeti, which studies the equations of politics and various political parties, is the one most in the news these days, there are others, like Kunal Kohli and Dibaker Bannerji’s untitled which are both in scripting or casting stages.
Indian politics has begun to provide much food for thought to filmmakers since it affects the day-to-day lives of people.
Besides, our politics’ dependence on elements like caste, religion, classes and cultures increases the appeal. “It’s interesting to bring forward to the audience the unseen facets on politics,” says trade analyst Ashok Pandit. Ram Gopal Varma’s Sarkar had a mass appeal that stretched beyond Maharashtra — Shiv Sena’s stronghold — despite the rumours of it being loosely based on Balasaheb Thackeray’s life. This is probably because Amitabh Bachchan’s character Subhash Nagre had a human side to him too, a facet that the audience finds interesting.”
Anjan Dutt, whose BBD — a film that captures the equation of politics with crime in Kolkata to bring three disparate lives together — says that this topic never fails to entice the audience. “The interest that politics generates is evident from the TRPs of news channels. Metropolitan cities may seem somewhat diffident towards affairs of state but places like Kolkata, Lucknow and Bihar, where it decides your way of life, take it so seriously that your local paanwala is also clued in,” says Dutt.
Jha, on the other hand, feels that Indian filmmakers aren’t doing justice to the genre. “A political thriller need not be based on real-life incidents but should be able to reflect the landmark changes that certain political decisions caused in society. My Apaharan spoke about the industrialisation of crime and Gangaajal was about one Yadav killing another for power. Such bold films are hardly made in India.”
More often than not, prominent incidents and occurrences in real-life politics trigger their on-screen adaptation. As is the case with Sushen Bhatnagar’s Monica.
Using journalist Shivani Bhatnagar’s murder case, the filmmaker further explores the rise of a commoner into the throes of politics and his tussle to retain the power. “My film does not pass judgment on Shivani or what she did but uses it as a trigger to a larger, fictional plot. Monica is about the fine line that unfortunately exists between the four pillars of society — industry, media, politics and the judiciary.”
Kohli, who is currently busy with the casting for his film, makes a departure from his forte in softer films with his next. Though unwilling to divulge details, he says, the film will touch upon a landmark political issue. In his opinion, the casting for such films plays a key role. “Power has much to do with the personality of the person in question and the effect one has on others. The casting therefore demands particular attention,” he adds.
Hounds Of Music With Visvabharati�s copyright on Tagore ending next year and the Centre refusing to throw in its weight, the poet�s music may be finally unshackled By Labonita Ghosh In the summer of 1964, Debabrata Biswas, the Rabindrasangeet sensation of the 1960s, received a terse letter from the Visvabharati Music Board (VMB) as he was leaving home to record an album. The board is the controlling authority of the 2,600-odd songs written by Rabindranath Tagore, most of which were set to music by him. It informed Biswas that he would not be allowed to record two of the songs submitted by him on the scratch tape. Reason: excessive melodrama and unnecessary interludes had made the songs “jarring and distorted”. Over the years, he was practically banned from singing even though the public couldn’t have enough of him. Finally, in 1971, Biswas gave up the fight, announcing that he would stop recording altogether. “It was not pride,” he later wrote in a touching tell-all called Bratyajaner Ruddha Sangeet (The Outsider’s Suppressed Music), “it was just self-respect.”
If Biswas were alive today, he would have celebrated December 2001. For that’s when Visvabharati—the university set up by Tagore in Santiniketan, and the possessive preserver of his legacy—will lose its 60-year copyright over everything created by the poet. When Vice-Chancellor Dilip Kumar Sinha wrote to the Union Human Resources Development Ministry recently, it refused to stretch the term again by amending the Copyright Act. In 1991 the Centre had buckled under pressure from Visvabharati by extending the copyright period from 50 years to 60. Now Sinha and other officials are fuming. “I will put Tagore on the Net,” says the vice-chancellor. “He may as well become free for all.” However, the hottest debate on the matter is about the future of Tagore’s songs for which vmb cannot wield the baton after next year. Without Visvabharati, will this vast bank be enriched or will it be denigrated? Indeed, it would be difficult to challenge Tagore’s virtuosity, or even improve upon it. A lyricist and composer since his boyhood, he borrowed from several genres and welded them into new creations. His sources of inspiration ranged from the western classical to Irish, Scottish and German folk songs, church music, military bands, opera and closer home, Indian ragas, kirtans and Baul songs. “A Tagore is born only once in several centuries,” says Pradeep Banerjee, honorary secretary of vmb. “We can’t allow him to be sold on the streets.” While Visvabharati’s reasons for a watertight copyright may be justified, it is the university’s over-policing that irks artistes. Many modern-day Tagore singers—and even some musician members of the board—feel that with Visvabharati’s firewalling out of the way, they can freely dig into Tagore’s repertoire and come up with innovative ways of presenting his songs. But mostly, they are relieved to get the watchdog off their back. Instances of the board acting as the self-appointed cultural nanny, as far as Tagore is concerned, are innumerable. When Bollywood producer Partho Ghosh decided to use some Tagore songs in his film Yugpurush, he had no idea about the kind of trouble he would run into. Within weeks of the film’s release, vmb slapped a lawsuit on Ghosh. He had to pay Rs 9 lakh in fines. Painter M.F. Husain tripped up on a song in his multi-starrer Gaja Gamini. The music board finally made him drop it. Filmmaker Rituparno Ghosh was luckier. In his National Award-winning Asukh, there were some lines from a Tagore poem that Visvabharati insisted had been read incorrectly. Ghosh had to re-dub. VMB catches about a dozen copyright offenders each year and earns a substantial amount in fines. Insiders say this amount is not much below the university’s income from Tagore’s musical royalty of Rs 10 lakh a year (the royalty income from books was Rs 2.70 crore last year). However, the board’s accounts, audited separately, are not shown in the university’s report. Nor is a transparent statement available to the public on whether the disputes are settled mostly out of court, and, if so, who fixes the amounts in compensation and on what basis. |
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Nandikar is a a legendary theatre group based in Calcutta. This theatre group started in 1960 under the leadership of Ajitesh Bandopadhyay and it grew under the leadership of Rudraprasad Sengupta, a promoter of Group Theatre Movement in Bengal. The group's early productions were mainly adaptations of non-Indian plays. Under Rudraprasad Sengupta as the main director a new era started, and Nandikar turned from a pure performance oriented theatre group to an organisation with a wide range of projects, including the annual National Theatre Festival.
Bohurupee
Sombhu Mitra formed a new theatre group, Bohurupee in Kolkata, which ushered the group-theatre movement in West Bengal. Shambhu Mitra and wife, theatre personality, Trupti Mitra have made unique contributions to the progress of the Bengali drama. Under Sombhu Mitra’s direction, the Bohurupee staged several successful productions.
People's Little Theatre (PLT)
People's Little Theatre (PLT) was founded by veteran actor, director, and writer Utpal Dutt. He communicated his thoughts and views to the audience through his theatre group.
Spandan
Spandan is a flourishing theatre group in Kolkata. It is a theatre group based in Kolkata, under the Indian People's Theatre Association (IPTA). From the very inception of Spandan, the group devoted itself in cultural movement to give a plethora in it.
Theatre Groups organisations that perform plays. herasim steppanovich lebedeff established the first Natyagosthi in calcutta in 1795, which made zamindars (landlords) and connoisseurs of drama interested in the theatre so that they began establishing one dramatic club after another. Though the people of dhaka did not response to the theatre with much enthusiasm as the people of Calcutta, a number of dramatic groups eg, namely Illisium Theatre (1888), Crown Theatre (1890-92), etc, were established in Dhaka during the pre-partition period. Some of the drama groups worth mentioning that were established outside Dhaka are Khulna Theatre (1900), Coronation Dramatic Club, Tangail (1911), Dinajpur Natya Samiti (1913), etc. Dramatic Clubs and groups established after the partition of India in 1947 in Dhaka include Habib Productions (1952), Drama Circle (1955), Kheyali Group Theatre (1969), etc. A number of dramatic groups became active in independent Bangladesh after 1971, which gave a new momentum to the theatre movement. Details of some of these dramatic clubs established in pre-1947 Calcutta and in present day Bangladesh are detailed below:
Ananya '79 established in Kushtia in November 1979, it aims to redress the inegualitics that exist in society through drama. The group's principle is to stage quality plays from any country to create a vital culture. Jvalatan by Kachi Khandakar was the first play produced by Ananya. The group first performed the play in a contest arranged under the auspices of Zila Shilpakala Academy, Kushtia. Noted plays staged by the group include Kabar (The Grave) by munier chowdhury, Basan (The Plate) by Selim Al-Din, Ebang Indrajit (And Indrajit) by Badal Sarkar, Itihas Kande (History Cries Out) by Radha Raman Ghosh, Nagar Bhabaner Nagar (Libertine in the Mayor's House) by Sunil Kumar, etc. The group has performed plays all over Bangladesh including at the Shilpakala Academy and at the Mahila Samiti stage in Dhaka, and has attempted to contribute to the theatre movement.
Anirban Sanskritik Sangathan established in Darshana in 1983 to foster a vibrant culture, this group set off with famous play, Kabar (The Grave) by Munier Chowdhury. In addition to regular performances, Anirban chalks out colourful programmes to observe Pahela Baishakh, (Bangla New Year's Day), Drama festivals, World Drama Days. It also arranges musical programmes and recitations. It has participated actively in movements against communalism and autocracy. Anirban has so far produced 29 plays where it has depicted the crises faced by humanity, society, and the state. Manyabar Bhul Karchhen by Bishnu Basu, based on Twelve Angry Men of Reginald Rose, is considered to be the most remarkable production of this group. They performed this play in the Jatiya Natyotsab (National Drama Festival), 1998. [Zillur Rahman John]
Anushilan Natyadal a Rajshahi University-based theatre group which was founded on 8 April 1979 with the objective of bringing about social change through the stage. Maloy Bhowmik, TM Zahid Hossain, Sukhen Mokhopadhyay, Shamsul Alam, Abdul Mannan and Taher Bin Shelley were among its pioneers. So far, a total of 34 plays, of which seven were performed on the stage and twenty-seven are street-theatres have been produced by this organisation. The first stage-play they put up was Ora Kadam Ali (They are the Kadam Alies) (1980) by Mamunur Rashid. Since most of its members are students, it organises university workshops at regular intervals. Because of its initiative, The Rajshahi University Cultural Alliance was formed in 1984 to co-ordinate activities of different cultural organisations of the university. It has obtained membership of the bangladesh group theatre federation in November 2001. This organisation has also performed in the open and it has played an active role in the movement for open theatre in the northern as well as other parts of the country.
It was because of the initiative of this organisation that the first national conference of the Bangladesh Mukta Natak Dal (Bangladesh Open Theatre Group) was held at Rajshahi University in 1986. Shatagranthi (1991) and Kinu Kaharer Thetar (1998) were staged, respectively, in the first and second national theatre festivals, held under the joint auspices of the Bangladesh Group Theatre Federation and Shilpakala Academy. Anushilan Natyadal has been able to popularise theatre at different places through holding various workshops on theatre, seminars, poster exhibitions, and through productions, on the one hand, and has also helped in creating social-consciousness through a progressive theatre movement, on the other. [Wahida Mallik]
Aranyak Natyadal one of the leading theatre groups, was established during the freedom struggle of the country. Initially, the plays of Aranyak were inspired by the spirit of the liberation struggle, its tragedies, as well as the sense of pride it fostered in us. Later, the group started incorporating other themes into its plays such as the long-existing class-struggle in the country and the frustrations of the people due to political uncertainty and the turmoils of the post-liberation period. The group came into prominence with the launching of Ora Kadam Ali, a play written and directed by Mamunur Rashid, a prolific theatre activist, actor and director of the country, whose plays usually concern the lives of the common people, their struggles and aspirations, and their exploitation by the rich and privileged class. The group is dedicated to the stage theatre movement and has achieved outstanding success in the field. Apart from Ora Kadam Ali, other noteworthy productions of the group are Iblish, Nankar Pala, Pathar, Agunmukha, Sat Puruser Rn, Jay-Jayanti and Prakrtajan-katha Bale. Apart from original plays, Aranyak Natyadal has also produced a translated version of Shakespeare's Coriolanus. Mamunur Rashid is the major playwright of the group, but the group also performs plays by other playwrights such as Abdullahhel Mahmud and Mannan Hira. Apart from the group's metropolitan activities, it also has an extensive folk-based programme for remote areas of the country named Mukta Natak (Open Theatre). In 1991 it started a professional repertory company known as Bangla Theatre. During the bicentennial celebrations of modern Bangla drama, Bangla theatre staged Lebedeff, based on the life and work of Gerasim Stepanovich Lebedeff, the pioneer of the proscenium theatre in Bengal. [Ataur Rahman]
Arindam Natya Sampraday (Chittagong) a few energetic and enterprising drama workers, closely connected with drama performances in Chittagong city, founded the Arindam Natya Sampradaya on 15 May 1974. From the very beginning they have been selecting and staging plays to uphold human values and to nurture a vibrant culture. Moreover, they emphasised the war of independence in 1971 and the changed circumstances of the country after independence. They have so far produced more than 18 dramas and made 400 presentations. Most of these have reflected rural life and society. They have also staged the plays of Chekhov, Brecht or Tolstoy. They always try to avoid being melodramatic and cheap publicity. They mainly staged plays at proscenium stages. Their major productions include Pap Punya written by Lev Tolstoy and dramatised by Ajitesh Bandyopadhyay, lalsalu written by syed waliullah and dramatised by Shishir Dutta and Munir Helal, Sajan Megh written by Santanu Kaiser, Falafal Nimnachap, Backwall, Yaminir Shes Sanglap, Mallikar Chokhe Jal, Bhola Maynar Baoskope, etc. From the beginning Orindam has been organising drama workshops, seminars and drama festivals, besides staging dramas. They have taken an active part in many cultural functions of national importance. [Zillur Rahman John]
Baghbazar Amateur Theatre (1868-72) was formed by a group of young, middle-class Bengalis at a time when theatrical performances were confined to the houses of a few rich aristocrats, where general admission was restricted. The object of forming Baghbazar Amateur Theatre was to perform theatrical shows for ordinary people. The first theatrical performance here was a jatra show of Sharmistha by michael madhusudan dutt in 1867. Sadhabar Ekadashi by Dinabandhu Mitra was staged by them in October 1868, during the durga puja festival. Dinabandhu mitra's farce, Biye Pagla Budo, and Lilavati, a social drama, were staged here subsequently. Among those associated with this theatre were girish chandra ghosh, Nagendra Banerjee, Amritalal Mukherjee, ardhendu shekhar mustafi, Kshetramohan Ganguly, Mahendra Basu, and Motilal Sur. Most of them later became leading personalities of Bangla public theatre. The concept of Bangla public theatre evolved from the Baghbazar Amateur Theatre. [Ganesh Mukhopadhyay]
Baguda (Bogra) Natyagosthi established on 29 May 1980 in Bogra. A group of youth who had returned from the war of liberation formed the group to tackle the frustration of war-returned youths and to meet the political change of the country, and to counter the anarchic situation existing in the country. They were also inspired by the Gram Theatre movement of Dhaka Theatre.
AH Azam Khan and Tawfiq Hassan Maina were founder president and secretary respectively of the group. The group soon gained fame through its multifarious welfare activities. Introduction of Baisakhi Mela is one of its endeavours that has been lauded. In addition, recovery of almost extinct art objectives and presenting them adequately, helping victims during emergencies, participating in vaccination programmes, staging plays for the masses are among the goals of this group.
The group has so far produced over 1000 shows of their 57 plays. Their successful productions includes Ksyapa Paglar Pyanchal (A Madman's story), Election Caricature, Ei Deshe Ei Beshe (This country, this dress), Hallabol (Itullaballo), Sonabhaner Pala (Play of Sonabhan), etc. Bogra Theatre has participated in different theatre festivals and their plays have been telecast on Bangladesh Television. The group is still active despite its limited facilities.
Baguda (Bogra) Theatre established on 15 February 1972 in Bogra, with Dr Nanigopal Debdas and Shyamal Bhattachariya as founder president and secretary respectively. It was the first group in Bogra who subscribed to the ideals of the group theatre movement. This group believes that plays reflect not only human life, but also indicate ways how a life should be lived. Group members believe that the theatre is not merely a medium for entertainment but an art engraved in life. This group has nourished such ideals throughout its first 10 years.
The workers of Edward Dramatic Association, established in 1906 in Bogra joined this group at one point. As a result, a happy union of experienced and amateur stage hands put Bogra Natyagosthi in a unique position. This group was praised for its excellent production of Dandakaranya (Dandak forest) by Munier Chowdhury, which was staged in the First National Drama Festival in 1977 at Dhaka Shilpakala Academy. Since then, the group has been staging plays almost everywhere throughout the country. It has also presented plays on Radio Bangladesh and Bangladesh Television. The group has so far staged 326 shows of its 38 plays. [Shyamal Bhattacharya]
Bahubachan a few youths who had participated actively in the War of Liberation formed the group on 2 February 1972 in Dhaka to promote play-going. Bahubachan believes that the theatre is not only a medium of enjoyment but is deeply rooted in human life.
The group staged its first play Lilalasya commercially. Initially it staged Sabhapati Balben (The President will speak), Ami Raja Haba Na (I shall not be King), Sarpa Bisayak Galpa (Story about snakes) and Niranjan Phire Eso (Come back Niranjan). The plays produced by the group includes 750 Singha (750 Lions), Bipanna Dharapat (Endangered Tables), Ghatak Deshkal (The Killer Time and the Nation), Nandita Narake (In Hell), Pratidin Ekdin (One Day Every Day), Nekde (The Wolf), Chak Bhanga Madhu (Honey from the Hive), Oedipus, Swadeshi Naksha (Native Map), Yantra Tantra, etc. Bahubachan staged Tin Paysar Pala based on Three Penny Opera by Bertolt Brecht at the Mahila Samiti stage on the occasion of National Drama Festival, 1991. In addition to production of plays, the group has arranged seminars and workshops on Drama related issues.
Bahrupi (Calcutta) promoted the progressive theatrical movement started by the Indian People's Theatre Association (IPTA). Initially, Bahurupi was headed by shambhu mitra who directed the play Nabanna and also acted in it. Nabanna occupies a significant role in theatre for the masses. Later, with the help of this group Shambhu Mitra, enriched the stage and theatrical practice of Bengal. As a group Bahurupi was set up in 1948. In 1949 a charity show was organised to collect funds for release of prisoners. For this purpose the actors of Bahurupi staged tulsi lahiri's play Pathik.
Among them were not only Shambhu Mitra and Tulsi Lahiri but also Manoranjan Bhattacharya, Kali Sarker, Amar Ganguly, Sabitabrata Dutta and Tripti Mitra. On 17 December 1950 Bahurupi Natya Utsab (Bahurupi Theatre Festival) was held at the New Empire Stage. In the festival three plays was staged: Tulsi Lahiri's Chhedatar and Pathik, and Sri Sanjib's Ulukhagda. In the festival Chhendatar, a play done in a unique style, was performed to acclaim. Later, Chhendatar was staged in China. Moreover, it was acted and translated into different languages such as Urdu, Punjabi, Marathi. Bahurupi then began staging one play after another. It stirred viewers with its prodicton of rabindranath tagore's Char Adhyay and Raktakarabi, Dashchakra, a translation of Ibsen's play by Shanti Bose. On 21 December 1954 Bahurupi brought the Bengal stage great honour by staging Raktakarabi in the First National Theatre Festival held at Sapru House in Delhi.
Bahurupi can claim credit for making Tagore's plays attractive to ordinary people through its attractive production and acting. Bahurupi has staged 32 new plays from October 1949 to 9 December 1971. Among them are seven plays by Rabindranath Tagore (Char Adhyay, Raktakarabi, Svargiya Prahasan, Dakghar, Muktadhara, Bisarjan, Raja), three by Tulsi Lahiri (Pathik, Chhendatar, Chauryananda), six by Shambhu Lahiri, two of Ajit Gangopadhyay, one by Shanti Bose, one by manmatha roy, one by Gangapada Basu, one by Kumar Roy, and other translated plays from home and abroad. Among other plays produced by Bahurupi are Sophocles's King Oedipus, Badal Sarkar's Pagla Ghoda, Baki Itihas, Shudrak's Mrchchhvakatik, Brecht's Galilio, Manoj Mitra's Rajdarshan, and Aguner Pakhi, etc. On 1 May 1974 Bahurupi celebrated 25 years of its life through staging Rabindranth's play Raja at the Akademi Auditorium. By now Bahurupi has not only established a theatrical tradition and acting style through its tireless efforts but has also been able to create fresh interest in the theatre in the viewers' mind. As a result, it has become possible to form excellent theatre groups, to write good plays and to act in them. The net affect os that the number of theatergoers has increased substantially.
Barisal Natak established in Barisal Town on 7 April 1977. It participates in different group theatre programmes. The group has so far produced at least hundred shows of over 30 of its own dramas. Among the most noted plays produced by this group are: Subachan Nirbasane (Good bye noble words), Abarta (The Whirlpool), Bhorer Michhil (Procession in the morning), Sajano Bagan (Well-decorated garden), Ora Kadam Ali (The Havenots), Zamindar Darpan (Portrait of zamindars), Samaj (The Society) and Lalsalu (The Red-cotton cloth). Barisal Natak staged Yuddha Ebang Yuddha (The War) in the National Drama Festival, 1991. [Zillur Rahman John]
Bodhan Theatre established in Kushtia in 26 August 1979. The group members, in addition to entertaining their audience through the theatre, want to inspire them to think creatively about life and worldly affairs. This group favours staging plays free from the theatre of censorship.
Bodhan played a vital role in the 5th convocation of the Bangladesh Group Theatre Federation held in Kushtia in 1985. In addition, it has participated in different drama related activities. Since inception, the group has so far performed 146 shows of their 4 open-air and 11 stage plays. Important plays staged by this group are: Ksyapa Paglar Pyanchal (Tirade of a madman), Engit (The Signal), Chor Chor (Thief Thief), Alo Ektu Alo (Light, more light), etc. The group has produced 37 and 19 shows of their first two plays.
Masum Reza, Seikh Mohammad Mohiuddin and Md. Aslam Ali are the playwrights associated with this group. Bodhon has staged plays in different places of Bangladesh including Rangpur, Comilla, Sylhet, Habiganj, Jhenaidaha, Meherpur. Bodhon has received many prizes for their productions, eg, participating in the Drama Contest arranged by Rangpur Shikha Sangsad in 1983 and in the Federation National Drama Festival held in 1985. The group has observed Tagore's birth anniversary both at local and national levels, ekushey february and World Drama Day and has participated in theatre related activities.
Coronation Dramatic Club was established in Tangail in 1911. In those days, plays in Tangail were usually staged irregularly in different permanent and temporary stages under the auspices of landlords. In a one-month exhibition held in Tangail in 1910 successful productions of Ali Baba and Mayur Singhasan (Peacock shaped Throne) attracted some youths, who later had established the Coronation Dramatic Club. Initially, they made an office and a stage for the group in a fallow land owned by Jadunath Bhattacharya. These were later shifted in 1944 to Coronation Park, a strip raised from the riverbed. Club members readied the plot and made a tin-roofed and walled opera house equipped with six hundred seats and a temporary stage suitable for theatre productions. The group staged important plays by Jyotirindranath Tagore, Girish Chandra Ghosh, DL Roy, Amritalal Basu, etc.
Coronation Dramatic Club collected and made own costumes, musical instruments, sceneries, daylights (Kerosene), and air-lights (Lamp), sky wings for the stage, and a wooden stage by 1956. They also rented out the stage to different organisations for staging plays and cultural programmes. It was converted into a cinema hall in 1958.
At present, the club has 182 members who are continuing its activities. Coronation produced 35 plays between 1956 and 1998. Its prominent productions include that of Ulka (1956), Mayamrga (1958), Keranir Jiban (Life of a clerk, 1963), Dvipantar (Deportation, 1965), Ksudha (Hunger) (1969), Nati Binodini (1973), Kinu Kaharer Theter (1990), Zamindar Darpan (1994), etc. Women acted for the first time in Tangail in Ulka in 1956. Purnima Sen and Gita Dutta were the first women actors. Coronation also used wooden framed two-storied sets in this play. Syed Nurul Huda, Golam Ambia, Aktaruzzaman Khan, K Chakravarty, Subinoy Das, Farook Quraishi, etc, directed different plays produced by the club.
Crown Theatre established between 1890 to 1992 in old Dhaka by members of Sanatan Natya Samaj. The Crown Theatre stage was set up after the demolition of purbabanga rangabhumi. It operated professionally for a long time since its inception. Local actresses acted in its productions. This was something of a novelty in Dhaka. Purna Chandra (Full Moon) by Girish Chandra Ghosh was its first production. Plays were showed on Mondays, Wednesdays and Saturdays. Among the major plays performed by the group are: Chaitanyalila, Naladamayanti, Kapalkundala, Mrnalini, Jana, Prafulla, laily-majnu, Anarkali, Kedar Roy, Sur Sundari, Meera Bai, Raja Bahadur and Abu Hossain.
At one point objections of local people compelled the group to move to Islampur. The ownership of the company changed hands more than once. Its monopoly was broken in 1817 when some of its performers left the organisation and joined the newly formed Diamond Jubilee Theatre. Later, the Crown was transformed into a cinema hall. [Zillur Rahman John]
Dhaka Little Theatre established in Dhaka on 1 October 1978 to promote the mental development of children through training and performance in the theatre. Fayez Ahmed, Serajul Islam Chowdhury, Nazma Jesmeen Chowdhury, Morshedul Islam, Mazharul Islam, etc, played vital role in forming this group. Nasiruddin Yusuf and Afzal Hossain were its advisors. Taser Desh, the first production of this group, was staged in February 1979. Nazma Jesmin simplified Tagore's original for Children. The group staged 41 shows till 1999. The main productions of Dhaka Little Theatre have been: Yeman Khushi Sajo (Dress as you like), Bajranal (Thunder ball), Hirak Rajar Deshe (In the land of King Hirok), Sada Patharer Deshe (In the land of white stone), Chandan Bayatir Gaon (Singer Chandan's village), Abar Arunoday (Again sunrise), Bhay Karlei Bhay (Scared if you are scared), Venice Saodagar (Merchant of Venice), Gomar Fans (Secret disclosed), Jujubudi (Witch), etc. [Anupam Hayat]
Dhaka Padatik established on 13 March 1980. This group performs plays based on the history of Bangladesh, its soil, people and their struggle for survival. The theatre workers of this group believe that plays are rooted deep in human lives and therefore, they put up productions to get to the roots of our lives.
Mukhomukhi Kangsa (Face to face Kans) is the first play that the group has staged. Dhaka Padatik staged Ei deshe Ei Beshe (This country in this dress) at the Mahila Samiti stage on 23 January 1990 in the drama festival organised by Nagarik Natya Sampraday. This had over 100 performances. Dhaka Padatik staged Janatar Shatru (a Bangla translation of Enemy of the People by Henrick Ibsen at the Shilpakala Academy stage at the National Drama Festival 1991 organised on the occasion of the 20th year of the War of Liberation. They staged a revised version of bisad-sindhu at the National Drama Festival, 1998. Other plays produced by the group are: Ksyapa Paglar Pyanchal (open air drama), Sojan Badiyar Ghat, Election Caricature, Talpatar Sepoy, Inspector General, Engit (Signal - over 100 shows), Raksas-Khokkas (Demons), Socrateser Sandhan (In search of Socrates), Gani Mia Ekdin (Gani Mia in a day), Ah (Oh) Comrade, Bichar Bibhrat (Error in judgement), Amina Sundari (Beautiful Amina), Bisad-Sindhu (2nd Part), Fera (Return), Rupkumar, Brtta (Circle), Yadukar (Wizard), Gadha Bazar (Idiot market), etc.
The number of shows, both stage and open air, and performed by Dhaka Padatik has exceeded a hundred. They have also performed in different district town outside Dhaka and have participated in a drama festival in Calcutta. The group often arranges workshops on drama to improve the expertise of its group members. In addition, Dhaka Padatik participates actively in Bangladesh Group Theatre Federation activities and Sanmilita Sanskritik Oikya Jot arranged cultural programmes. They also chalk out different programmes on the occasion of World Drama Day, different national days, may day, etc. [Zillur Rahman John]
Dhaka Theatre a theatre group established in Dhaka in 1973, and one of the pioneers of the neo-theatre movement in the country. Its members believe that theatre should depict the life of the people and therefore endeavour to find a theatrical expression which will truly depict the country and its people. To achieve this goal, the group emphasises the traditional performing art forms and has tried to mingle old forms with modern ideas and technologies. The group's productions have been appreciated for their artistry as well as their portrayal of Bangladeshi themes. Selim Al-Din is the leading playwright of the group. He writes plays based on the indigenous epic style of mangalkavyas, maimansingha-gitika, etc. Nasiruddin Yousuff directs the plays of Dhaka Theatre and has very ably directed most of Selim Al-Din's plays. Dhaka Theatre has staged about 26 plays, of which Muntasir Fantasy, Fani Manasa, Kittankhola, Keramat Mangal, Hat Hadai, Chaka and Banapangshul have been acclaimed both within and outside the country. The group has also staged Bangla versions of The Resistible Rise and Fall of Arturo Ui by Bertolt Brecht and Merchant of Venice by William Shakespeare. Dhaka Theatre has also taken up a theatre programme known as Gram Theatre which stages plays enacted by villagers in any available open space. Dhaka Theatre has about 50 members; prominent among them are Nasiruddin Yusuf, Shimul Yusuf, Humayun Faridi, Subarna Mustafa, Raisul Islam Asad, Pijush Bandyopadhyay, Shahidul Islam Selim and Shomi Kaiser. [Ataur Rahman]
Diamond Jubilee Theatre see Theatre Stage.
Dinajpur Natya Samiti a dramatic organisation established in 1913 in Dinajpur. In 1904 the Diamond Jubilee Theatre was founded at Kshetripara in Dinajpur on the initiative of Haricharan Sen. There was, however, some disagreement among the group. The break-away group, led by Bhupal Chandra Sen, set up a new organisation called the Dinajpur Natya Samiti. A play called Chandra Gupta, was staged as its inaugural production. Among those who helped with the staging were Zamindar Radha Govinda Chowdhury, Maharaja Jagadish Nath Roy, Dr Jamini Sen, Nishikanta Roy Chowdhury, Girija Mohan Niogi, Marhamat Hossain. Kulod Babu, Kunu Babu, Bibhuti Chand, and Hiranmoy Babu portrayed the roles of female characters ably. Many plays staged in the commercial theatres in Calcutta during 1913 to 1947 were successfully staged by the Dinajpur Natya Samiti. Some changes began to take place in the 1920s in the Natya Samiti when patronage and financial support from the wealthy and the middle class started to decline and when the Samiti became increasingly dependent upon spectators. Plays like Prafulla, Raja Harishchandra, Shajahan, Raja Nandakumar were staged at this time. The institution remained inactive for five years after the partition of India. Its stage was rented out to Modern Cinema Hall in 1948-49.
Beginning in 1963, the Samiti launched annual inter-district theatre festivals and acting competitions. The activities of the Samiti were interrupted from 1981 to 1988 because of legal complications. The theatre festival was suspended from 1983 to 1993, but restarted in 1994. The Natya Samiti won nine prizes out of eleven by staging the play Bhumikamper Pare in the inter-district theatre festival held in Mymensingh. Despite innumerable trials and tribulations, the organisation is still active. [Nazmul Ahsan]
Drama Circle was established on 6 October 1956. meer moksudus salehin, the then DUCSU cultural secretary played the pioneer role in forming the group. It has introduced various innovations especially in lighting, dressing, make-up and scenery setting.
Drama Circle produced its first play Kabay (Pointers of Isphahan translated by Banaful) at Curzon Hall on its opening day. Mahmud Hasan, Tawfiq Aziz Khan, Jaharat Ara, Abid Hossain, Morshed Chowdhury, etc, performed in this play. The group staged Manchitra by anis chowhury in Calcutta that year. They also staged the play in Pakistan. The group became ineffective during the sixties when Moksudus Salehin and akm bazlul karim left for abroad. However, it has regained its vitality after the Liberation of Bangladesh. Plays produced by the Drama Circle have been performed at Curzon Hall, Engineers Institute, US Information Centre, British Council Auditorium and Mahila Samiti.
In addition to conventional plays, Drama Circle stages Bangla translation of Greek, English and American ones. They also stage melodramas and symbolic and allegoric plays. Noted productions of this group are: Keu Kichhu Balte Pare Na (No one is able to say anything, 1957), Raktakarabi by Tagore (1958), Taser Des (1961), Raja Rani (King and Queen, 1961), Bahipir by Syed Waliullah, Raja Oedipus (King Oedipus) by syed ali ahsan (1962), Sabai Amar Chhele (Everybody is my son, 1959), Kalbela (1962), Arms and the Man (1963), Sajano Bagan (Decorated garden, 1980), Chup Adalat Chalchhe (Hush, the court is in session, 1984), etc. [Anupam Hayat].
Faridpur Theatre established on 1 February 1990 in Faridpur. Faridpur Theatre, a member of Bangladesh Group Theatre Federation, aims to include novelty and modernism in the theatre. In addition to open air plays and stage shows, Faridpur Theatre focuses on folk-drama and participates in drama competitions arranged in different parts of the country, including Dhaka, and also arranges workshops and seminars on drama. This group has also been publishing Natyarddhi, a journal for the theatre.
Remarkable productions of this group are: Doctor by Rabindranath Tagore, Kajal Rekha, a play based on Maimansingha-Gitikar Pala (based on songs of Mymensinghs), Bidyapith, etc. Faridpur Theatre has so far produced 31 plays including 31 open-air ones. The group has arranged over 200 performances of those plays.
Gananatya Sangha established in Bangalore, India in 1941. Its Mumbai branch was established the following year. It emerged as Indian People's Theatre Association (IPTA) in 1943 and established its Bangla branch in Calcutta. This was just after the World War and Bengal had been shattered by a famine then. There was frustration in politics and despondency in social life and the cultural arena was in grave crises. Theatres at that time were suffering from monotonous plots based on unrealistic depiction of the life style of the rich. The progressive writers and artists, at this stage of cultural erosion, thus established Gananatya Sangha.
The Sangha began with Agun (The Fire) by bijan bhattacharya and Laboratory by binoy ghosh. In these play anger against going hungry and reproach against a few rich men were uttered for the first time on the nation's stage. A few months after these shows, Gananatya showed Jabanbandi (Testimony) by Bijan Bhattacharya. These plays were showed repeatedly before a diverse audience consisting of the poor as well as the rich. The Hindi and Gujrati version of Jabanbandi were staged in the other provinces too.
Inspired by the success of Jabanbandi, Gananatya Sangha staged Nabanna (Ceremonial eating of new rice) by Bijan Bhattacharya, a story based on the life of the hungry. Srirangam Hall was packed with people from all walks of life on October 1944 in the Nabanna premier show.
Gananatya Sangha came out with its unique message, and distinctive style, replacing sterile historical and mythological plays. The performers were non-professional, politically conscious educated youths from middle-class society. The Gananatya Sangha, especially with its Bangla production of Nabanna had a great impact in the dramatic arena. Gananatya Sangha Bastubhita (Homestead) by Mitali Banerjee in 1947, which detailed refugee life in the early post-partition days.
Salil Chowdhury depicted the sorrows and joys of literary life and the miserable condition of commoners in the play Janantik in 1949. Sanket, by the same writer, was staged subsequently. Thereafter, with a view to making the theatre pro-people, Gananatya Sangha staged plays on other social issues. This resulted in friction with the government and led to ban on some its shows. Some of these plays were: Ajkal, Masijibi, Lalmati, Rahumukta, Haripada Master, etc, by Bhanu Chatterjee. The Sangha even had to discontinue shows of Sanket due to police intervention. Later, they managed to stage the play in Rammohan Library, but did so by retitling the play as Pratidhvani (Echo).
Other important plays produced by Gananatya Sangha are: Nildarpan, Mrtyu Nei, Sankranti (Termination), Dheu (Wave), Rater Atithi (Night guest), May Dibas (May Day), Macbeth, Sangsaptak, Itihaser Pata (Pages from the history), Long March, Haraner Nat Jamai (Grandson-in-law of Haran), Santal Bidroha (Santal revolution), Kaylar Rang (Colour of Coal), Sharater Megh (Clouds in autumn), Ei Matite (In this soil), Arunodoyer Pathe (In the path of sun-rise), etc. The Sangha is still active and has established as many as 312 branches in 18 districts of West Bengal.
Ganayan Natya Sampraday a drama group founded on 17 September 1975, in Chittagong, believes that drama is for the people and that plays should reflect class exploitation, revolution and the struggle of people for emancipation. The group staged its first street drama, Yay Din Faguno Din, by Milan Chowdhury on 1 February 1976. In February 1977, it staged two plays, Gafur Amina Sangbad and Charyapader Harini, on the grounds of Chittagong Municipal Model High School.
The group is very active and has staged approximately 300 shows of 18 plays since its inception. It has participated in several drama festivals, such as the Bangladesh Drama Festival of 1977 organised by the bangladesh shilpakala academy, the Group Theatre festival '79 organised by the Chittagong Group Theatre workers, and the National Drama Festival '79 organised by Dhaka Padatik. It also took part in the first National Street Drama Festival organised by the Bangladesh Group Theatre Federation in February 1988, staging Abashese General. In the National Drama Festival '91, organised in commemoration of twenty years of the liberation war, the group staged Shes Sanglap, written by Tawfiq Al-Hakim and dramatised by Jamil Ahmed and Saiful Alam Chowdhury. The group brings out a journal called Ganayan. [Zillur Rahman John]
Great National Theatre the changed name of Hindu National Theatre, Calcutta. The group started performing at Great National Theatre stage (present Minarva Theatre) established by Bhuban Mohan Neogi at Bidon Street in 1873. The group started with Nildarpan and Bidhaba Bibaha in January 1874. The group got a new life with Girish Chandra Ghosh who wrote plays based on novels by Bankim Chattopadhyay and who acted in the main role. The group earned fame with the drama Mrnalini.
The group introduced a significant change by recruiting women to act in female roles for the first time on 19 September 1874. Noted plays performed by this group are: Krishna Kumari by Madhusudan, Kapalkundala by Bankimchandra, Purubikram and Kinchit Jalayog by Jyotirindranath, Sati Ki Kalankini by Nagendranath Banerjee, Macbeth, Ananda Kanan, etc. This group condition worsened due to management and it eventually folded. [Ganesh Mukhopadhyay]
Habib Productions a drama group named after the famous director-producer Habibul Haq (1920-1965) was established in 1952 in Dhaka. BA Khan, Kazi Nurus Sobhan, Seikh Lutfar Rahman, Obaidul Haq Sarkar, Abid Hossain, etc, were then involved with the group. This group was innovative in its choice of plays, stage productions, and way of presentation. The group staged its first play Nursing Home by sachindra nath sengupta at Curzon Hall on 27-29 December 1952. On 6-7 May on the following year, it staged Matir Manus by Habibar Rahman and Kalindi by tarashankar bandyopadhyay on 13-14 May. Hese performances which were highly praised. Hosne Ara, Abid Hossain, Jaharat Ara, Maminunnesa, Obaidul Haq Sarkar, Narayan Chakraborty, Gita Dutta, Saifuddoullah and Sariful Alam performed in Kalindi. The group, however, closed forever in its third year. Still, it must be said that the group played a vital role in the history of the theatre in post-partition Dhaka. [Anupam Hayat]
Ilishiam Theatre though it began an amateur drama group in 1888, Illisium Theatre was soon transformed into a professional drama organisation and started to perform plays on payment.
Krishna Kishore Basak, a Bench Clerk from the Dhaka Court organised the group. Kunjalal Nag, principal, jagannath college was its director. They performed twice a week on Wednesdays and Saturdays. The notable plays performed by the group are Bilwamangal, Sakuntala, Sitar Banabash, Pravash Milan, Nildarpan, etc. Bilvamangal, a drama based on Hindu sacred works (purana) was very popular with the audience. Mr Kunjalal Nag revised the original play of Girish Chandra Ghosh, turning it into a melodrama.
Illisium Theatre faced the wrath of the British Government for staging Nildarpan- a play based on atrocities committed by English indigo planters. The local administration objected to some of its scenes. At one stage they stopped its shows taking recourse to the dramatic performances act, 1876. This ultimately resulted in the closure of the group.
Janantik Natya Sampraday found in 1978 in Comilla to celebrate our heritage through the stage. They stage plays based on real life stories. The group staged Bisarjan by Tagore in the National Drama Festival in 1991. It has produced 183 shows of its 29 plays. It has participated in drama competitions and festivals arranged in different parts of the country including Dhaka. In addition, it arranges seminars and symposiums on different national and international occasions.
Jatrik Natyagosthi a drama group founded on 23 July 1975 in Comilla. Inspired by the group theatre productions, the group stages plays which generally reflect day-to-day life and thought and humanist ideals. It has so far produced 44 plays, of which 39 are stage plays and 5 are street plays. They have been staging plays by foreign and local dramatists, including Abdullah Al-Mamun, Rashid Haider, Samaresh Basu, sharat chandra chattopadhyay, Rabindranath Tagore, Manoj Mitra, Momtajuddin Ahmed, Alauddin Al-Azad, Mamunur Rashid, Golam Mostafa, Nurul Huq, alongside performing plays written by their own members. The first production of Jatrik was Subachan Nirbasane written by Abdullah Al-Mamun. Other plays staged by the group include Bidyalankar Press, Baudir Biye, Taila Sangkat O Bidagdha Ramanikul, Chhutir Fande, Kabar, Ora Kadam Ali, Charidike Yuddha, Sajano Bagan, Chapa Pada Manus, Chandravati, Gazi Kalu Champabati, Iblish, Jiban Jauban, etc. Jatrik has organised drama workshops and seminars in Comilla and has participated in different drama workshops, symposia and festivals held in Dhaka and other districts.
Kheyali Group Theatre established on 17 December 1969 in Barisal Town with the objective to promote progressive ideas, Bengali culture, Bengali nationalism and, to introduce true plays. Kheyali workers participated actively in the mass-upsurge in 1969 and in the War of Liberation in 1971. In 1973, Kheyali began to operate professionally and on the following year they started to promote open-air plays.
Kheyali became a member of the Bangladesh Group Theatre Federation in 1980. They have staged over four hundred shows of 50 plays over the period. Bangladesh Television telecast their Ek Kalapahar in 1985. The group emerged victorious twice in three Drama-contests arranged by Barisal Cultural Academy.
Kheyali has also participated in different Drama Contests arranged by Bangladesh Group Theatre Federation, Kushtia Shilpakala Academy and Jatrik in Comilla. In addition, the group has arranged five festivals and a People's Theatre Festival and a folk cultural competition in its hometown in Barisal. It has been running a school to teach recitation and acting for the last few years. They also publish an irregular drama periodical titled Natak. Kheyali published a compilation of nine plays written by its member Mintu Basu and Muktiyuddha O Pratibader Natak (a drama on War of Liberation) in 1966 on the occasion of the silver jubilee of the Liberation War. The group participated in the National Drama Contest, 1998 arranged jointly by the Bangladesh Shilpakala Academy and Bangladesh Group Theatre Federation and staged Gaurav Gatha (A Story Woven out of Pride). [Zillur Rahman John]
Khulna Theatre came into existence in 1900 in the city of Khulna as a result of the initiative of some educated zamindars, businessmen and young men to entertain the people of the city. Plays were performed on improvised stage in an open playground opposite to the Coronation Girls' School of Ahsan Ahmad Road in Khulna. The institution was shifted to a small thatched cottage after some years. Khulna Theatre evolved gradually under the direction of its founder manager Bimalananda Dasgupta and secretary Kunjabihari Mukherjee. The stage and theatre-hall were housed in a building made of bricks and tin that was constructed around 1905-1906. The management of Khulna Theatre changed its name to Khulna Natyamandir in 1924, and renamed it Khulna Natya Niketon once again on 27 February 1966. Among those who acted in Khulna Theatre before the liberation of Bangladesh were Pramoda Dasgupta, Nirmal Sen, Manomohan Chattopadhyay, Lohit Banerjee, Habibar Rahman (Mejho Bhai), Binoy Sen (Haruda), Abdus Sabur Khan, Fazlur Rahman, and Afsar Uddin Ahmed. People like Girish Ghose, Amritalal Basu, Nirmalendu Lahiri, Danibabu, shishir bhaduri, ahindra chowdhury, Chhabi Biswas, Mahendra Gupta, Anwar Hossain, Khan Zainul, Altaf, Golam Mostafa, Hasan Imam, Sawkat Akbar, Anwara, Shabana, Saifuddin, Ranu from Calcutta and Dhaka also performed for the theatre. More than one thousand plays were performed by this organisation. A revolving stage was introduced in 1973.
At present its organisers are Abul Hashem, Abu Mohammad Ferdous, Mohammad Enamul Haque Milu, Sheikh Sirajul Islam, Sukumar Samaddar, M Akram Hossain, and SM Habib Dulal. A number of theatre activists have been staging dramas written by themselves in the Khulna Theatre and produced by a new management since 12 October 1981 with a view to making the theatre suitable for mass education. Important plays performed by the group are Gazi Kalu Champabati, Mahuyar Pala, Sat Ma, Sukhi Ramani, Gunai Bibir Kechchha, Kamala Sundari, Naksi Kanthar Math, etc. Khulna Theatre has its own hundred-seat research centre named Khulna Laboratory Theatre. It has been carrying out research regarding training, organising seminars, producing plays, and publishing scripts. Rasheduzzaman, Siddiqur Rahman, Sayedur Rahman, Safiqur Rahman Manik, AKM Alauddin, Mufazzal Hossain, Delwar Hossain, Gopal Chandra Das, Khan Mohammad Sarwar, Swapan Guha, Mohammad Abdullah, Atiar Rahman Mollah, Mofizul Haque and Nazmul Ahsan have been associated with the management of plays, acting, direction and play writing of the Khulna Theatre since 1980s. [Nazmul Ahsan]
Lokanatya Dal established on 6 July 1981 in Dhaka, it is directed by Liakat Ali Khan Lucky. The group has produced as many as 27 plays up to 1999. In addition to staging plays, the group arranges, among others things, theatre events, and distributes prizes. It has also established an information bank, staging, publication, training schemes. It also maintains liaison with other groups and organisations dealing with drama.
Important plays produced by this group are: Andho Nagarir Chaupat Raja (Bharatendu Harishchandra), A Mid Summer Night's Dream (Shakespeare), Rathayatra (Rabindranath Tagore), Bidhi O Byatikram (Bertolt Brecht), Manus (Munier Chowdhury), Shilpi (kazi nazrul islam), Kanjus (Molier), Helen (Uripidish), Padma Nadir Majhi (manik bandyopadhyay), Sonai Madhab (dramatisation of ballad), Cinderella (Jobeda Khanam), Raja O Rajadrohi (Rabindranath Tagore), Madhumala (Kaji Nazrul Islam), etc. Kanjus, the translated form of Molier's The Miser translated by Tariq Anam into the colloquial language of Dhaka, has had 355 (upto 2000) performances, a recovered in the history of Bangladeshi drama.
Lokonatya Dal introduced Veneration Award for cultural figures who have made significant contribution to the cultural field. The first award declared went to mohammad zakaria. Since then, the group has continued distributing the award on a yearly basis. The group organised a Seven-day drama festival in Dhaka in 1998. Loknatya Dal has staged plays in Delhi, Chandigarh, Shiligoori, Katak, and in Hong Kong. The group set up the Children's Theatre Group in 1990. People's Theatre Association, a sister organisation of this group, also arranged drama festival for children in 1995, 1997 and 1999. [Anupam Hayat]
Nabarupi established in Dinajpur in 1963 to remove monotony and stagnation in contemporary culture and to bring new life to it. It started its operation by staging Bara Ghanta. In addition to plays, they perform songs and patronise literature too. Nabarupi has so far produced 50 plays and put on 167 shows in total. In the First National Drama Festival, Nabarupi staged Ityadi Dharaner Prabhrti (Miscellaneous tendencies) and was awarded a prize. In the National Drama Festival, 1991, the group staged Bihan Kande Sei Andhare (Morning cries in that dark). In addition, the group has participated in different drama festivals arranged in the district towns for which it has got awards. [Zillur Rahman John]
Nagarik Natya Sampraday a pioneer theatre group, established in Dhaka in 1968. Theatre performances in pre-independent Bangladesh was done in very amateurish fashion. Only occassionally were reflective and serious produced on the stage. After the liberation war the importance of the theatre increased subsequently. Nagarik was one of the first group to perform plays in exchange for money. As a group it believes that a good play transcends space and time and all citizens of the world can claim it as their own. Thus world famous plays by Shakespeare, Bertolt Brecht, Edward Albee, Erwin Shaw, Ferenc Molner, Carl Zuchmayer, Molier, Albert Camus, Samuel Beckett, Michael Chekhov and Rabindranath Tagore as well as Syed Waliullah and Syed Shamsul Huq are among the 30 productions of Nagarik. Its first regular production done in exchange for money was Baki Itihash. Subsequent productions such as Sat Manuser Khonje, Dewan Gazir Kissa, Shajahan, Achalayatan, Kopenicker Captain, Nural Diner Sarajiban, Macbeth (jointly performed with Theatre), Gador Pratiksay, Galileo, and Irsa created a great sensation amongst the audience. Nagarik's drama productions are popular because of their artistic and aesthetic qualities as well as their relevance. Nagarik travels home regularly and abroad with its production teams and have toured India, UK and USA.
The group has 40 members of whom Ali Zaker, Ataur Rahman, Abul Hayat, Sara Zaker, Asaduzzaman Noor and Khaled Khan are especially prominent. [Ataur Rahman]
Nandanik Natya Sampraday established on 16 October 1977 in Dhaka to stage any important play of any country. Amar Sonar Harin Chai (We want the golden deer), the first production of the Nandanik Natya Sampraday was staged in its inaugural year. It staged Bine Paisar Bhoj (The free feast) by Tagore and Yaminir Shes Sanglap (Last dialogue of the night) based on Antony Chekov's story. It staged the play Shasti (The Punishment) in 1979 and Raktakarabi the following year. Both plays were based on Tagore's story. It has staged the play Sasti 56 times till now.
In addition to these shows, the group has also staged Nrpati (The King) by Humayun Ahmed, Hamlet by Shakespeare, Raja (The King) by Tagore, Girgiti (Chameleon) based on Chekov's story, Nil Paniya (The Sea) by Rajib Humayun, etc. Nandanik has so far produced 15 plays and it has presented 200 shows in total. Nandanik has been involved with the group theatre since its formation.
Narayanganj Theatre established on 20 August 1976 in Narayanganj to produce original plays to uphold the image of the War of Liberation. The group has played a vital role in the drama arena and has staged over 200 shows of 50 plays. They staged Doctor Faustus by Christopher Marlowe and Ghar Theke Ghare (From house to house) by Kutubuddin in the National Drama Festival in 1991 and 1998 respectively.
In addition to staging dramaplays, Narayanganj Theatre also arranges solo plays, drama contests, drama festivals, workshops on drama, etc. The group also participates in drama contests and drama festivals arranged in different parts of the country including Dhaka and has received awards for its productions. [Zillur Rahman John]
Natyachakra a pioneer theatre group that was established in Dhaka in 1972. The group was formed by young theatre workers who took active part in the Liberation War of Bangladesh. The guiding force of the group is the spirit of the Liberation War and it still attempts to upholds that spirit. The group has so far staged 35 full-length plays and 6 street plays. In its early phase, it attracted widespread attention for plays such as Samrat O Pratidvandvigan, Jaundice O Bibidha Baloon and Kingshuk Ye Marute. Among its later productions, Bhaddarnok, an adaption of Molier's drama, Pratiksar Prahar, a translation of Jean Paul Sartre and Chalk Circle, an adaptation of Bertolt Brecht became very popular among the audience. In addition of its theatre production, Natyachakra runs a theatre school called Natyashiksangan in Dhaka from 1977. This school conducts a one-year course on theatre covering both theoretical and practical aspects of the stage. Mr M Hamid, a television producer as well as a theatre organiser and a director has been directing Natyachakra. Falguni Hamid, an eminent actress, and Dev Prashad Devnath, a theatre organiser and a director are also actively associated with Natyachakra.
Natyakendra a theatre group established in Dhaka in 1990. Though relatively new, the group has attracted the audience through the success and aesthetic quality of its stage presentations. The group has a freshness that contrast with hackneyed stage endeavours of many others. The group believes that theatre is a multi-dimensional art form necessary for both art and life. Natyakendra attempts to represent the stresses and strains of life on stage. The workers of the group believe that one-day people will be able to establish peace and happiness in the world through their endeavours. Their production of Bichchu, a play based on Molier's The Scoundrel Scapiu makd the group well-known in the theatre circles of the country. By now it has completed its 150th performance. The group has successfully staged highly complex plays such as Tuglaq and Hayvadan by Girish Karmad of India. The group has competently produced the works of playwrights such as Arthur Miller's The Crucible. The group has to its credit successful productions of Sukh and Jera, Bangla adaptations of two Egyptian playlets on themes relevant to the life of the people of Bangladesh.
The group performs plays mainly at the Mahila Samiti and Girls Guide House Auditorium of New Bailey Road, Dhaka. The group has crisscrossed the country with its different productions. The group has 40 members and is led by Tariq Anam, a leading theatre actor-director and playwright of the country. [Ataur Rahman]
Padatik Natya Sangsad a drama group, founded in Dhaka on 21 January 1978 by the former workers of Kalantar Natyagosthi (1976). Padatik started its activities with the motto 'Let drama be the weapon for the struggle of life, let drama be the expression of life'. The objective of this group is to enrich our culture and to sustain the spirit of the War of Liberation. Padatik's first performance was jasimuddin's Sojan Bandiyar Ghat which was staged in 1978 at the British Council Auditorium. The group then staged Kabar, a play based on a poem by Jasimuddin, in the same auditorium. Through the dramatised version of the poem, which tells the story of an old man who has lost his wife whom he married while both were young, Padatik has revealed an intimate portrait of rural Bengal.
Ksyapa Paglar Pyanchal, based on the War of Liberation, was staged at the Central shaheed minar in 1978. This play had a significant role in popularising street plays in Bangladesh. The play has been staged more than a hundred times both within and outside Dhaka.
Manasar Pala, another play based on a folk-tale written and directed by Kazi Rafiq was staged at the mahila samiti auditorium in 1980. In 1982 Padatik staged Ballabhpurer Rupkatha, written by Badal Sarkar and directed by Kamruzzaman Runu. Ma, the translation of a play written by Bertolt Brecht and based on Maxim Gorky's Mother, was staged at the Mahila Samiti Auditorium in 1984. Shahina Akhter Kazal's performance, in the role of the mother, the two-storied set design of Jamil Ahmed, the lighting of Kamruzzaman Runu and direction of Kamaluddin Nilu were highly appreciated. Padatik has staged a number of popular street plays. Among them are Ajker Sangbad, directed by Kamaluddin, Raja Canute, directed by Amal Roy, Chikitsa Bibhrat, directed by Parshuram, and Chandravati directed by Kamruzzaman.
The activities of Padatik Natya Samsad have spread outside Dhaka. Padatik Natya Samsad, Narayanganj Branch, was formed in Narayanganj in February 1980. This branch has performed a number of street plays as well as staged regular productions, among them, Mosaddek Ahmed's Tufan Aitiyachhe - Sabdhan and Maharajar Abasthan, Abdulla Al-Mamun's Araksita Matijhil, Kazi Zakir Hasan's Rajay Rajay, Akram Hosain's Shes Drshyer Pare, etc.
Apart from various stage shows and street-play festivals held in different districts including Dhaka and Chittagong, Padatik has taken part in different workshops and discussions on drama. Padatik also plays an active role in the activities of the Bangladesh Group Theatre Federation. [Zillur Rahman John]
Rangarup Natya Academy an institute for training in dramatics, was established in 1975 in Dhaka and temporarily housed at Central Road. Noted actor Obaydul Huq Sarkar was its principal and actor Ansar was a director. Classes were held at the bangladesh shilpakala academy. Initially, there were 297 students. Teachers included Obaydul Huq Sarkar, Aziz Misir and Anwar Hossain. Lessons on dramatic theory and history were accompanied by practical sessions on acting. The academy produced a course-based play Vidyalankar Press. The Academy was patronised by the then president Bangabandhu sheikh mujibur rahman and it ceased to exist after his death (15 August 1975). [Anupam Hayat]
Sandhani Natyachakra a drama group, set up in Sylhet town on 4 April 1981 to encourage the dramatic activities of children. Since 1985 they have been regularly taking part in the Sylhet Drama Festival organised by the Drama Council. They have also participated in the Bandhan Programme of Bangladesh Television in 1987, in the National Drama Festival '98 organised by Shilpakala Academy and the drama festival organised by the Bangladesh Group Theatre Federation on 3 April 1998. They have been participating in the inter-district drama competitions and festivals organised by the Natyayan of Sylhet since 1989. The plays staged by the group include Dui Bhai, Baudir Biye, Hing Ting Chhat, Dolaner Sanglap, Mamlar Phal, Unmad Saksatkar, Shaytaner Blood Pressure, Ali Baba Challish Chor, Shaurya Tomar Charan Tale, Boba Minar, Kysapa Paglar Pyanchal, Bagh Sabdhan Shiyal Aschhe, Garur Gadir Head Light, Alhaz General, Amader Santanera, etc. The group believes that the theatre should reflect the struggle of the people and help to improve their lives. Besides drama festivals, they also organise drama workshops and fairs during Baisakh.
Shabdabali Group Theatre was established on 3 September 1978 in Barisal contribute to a healthy and progressive drama. The group believes in the ideals of the Liberation Movement and opposes religious superstition, communalism and dictatorship through its productions. Tini Muktidata (He is the Savior) is an example of its commitment to progress. Despite their limited resources, Shabdabali has made their own stage and have included a new dimension in drama in Barisal. Shabdabali is the first theatre group to have introduced the payment of honorariums for drama workers.
Shabdabali set up the first and only studio theatre in 1991. It has organised five workshops to stress the need of formal education. The group has produced 482 shows of its 31 plays.
Shabdabali has also staged its plays on the Mahila Samiti stage and Shilpakala Academy in Dhaka. It has also performed on Bangladesh Television (Darpahari, 14 November 1997) and Radio Bangladesh (Payer Awaj Pawa Jay, 1981). Shabdabali has also arranged other programmes to uphold the image and heritage of Bengal. The group has arranged a Baisakhi Mela at the feet of Shaheed Minar in Barisal to observe Bangla year 1400. Lathi Khela (Stick play) and folk songs such as jari, sari, and kavigan were presented in the Mela.
Shikha Sangsad was established on 23 March 1966 in Rangpur to develop the drama culture in the Rangpur area. Shikha Sangsad participated in the solo-drama competition in Mednapur in India immediate after the Liberation of Bangladesh. Later, they participated in another solo-drama competition in Calcutta in India. Shikha Sangsad has been arranging Inter-district drama competitions at Rangpur since 1978. The group has became known for its production Nepen Darogar Daybhar staged in the drama festival arranged by Cooch Bihar Town Development Association in 1997. They also staged Chheda Tar in Indo-Bangla union at Balurghat in the same year. Shikha Sangsad staged Bikram O Adalat, a play based on a story by Kishan Chandar at the Mahila Samiti stage in the National Drama Festival in 1998.
Surma Theatre was established on 22 October 1983 in Sylhet to uphold our folk heritage and the music, culture, heritage and life-style of the people of Surma Valley. Surma Theatre has produced 19 plays of which 18 were composed by one of their memebers, Bidyut Kar. Notable productions of the group include: Surma Kande (Surma is crying), Ei Chhilo Kapale (This was the fate), Itihas Bartaman (History that exists), Kalidasa, Golam Hossain Jabab Dao (Respond Golam Hossain), Biksubdha Banglay Hossain (Hossain in turbulent Bengal), Mani Kanchaner Ghat (Wharf of Mani-Kanchan), Gram Nagarer Bhide (In the throng of villages and towns), Sukher Khonje Sukhlal (Sukhlal in search of Happiness), Durjan Dur Ha (Get lost villain), Atit Bartaman Dinkal (Past and Present), Dam Diye Kinechhi Bangla (Bangla was bought at a great price), Gaduli Chhada (The Gaduli rhymes), Bhango Barricade Bhango (Break break barricades), Ranger Bibi Rangila, and Barricade Charidike (Barricades everywhere).
Other notable productions of this group are: Surma Kande (telecast live in Bangladesh Television on 19 April 1985), Mani-Kanchaner Ghat, presented in the BTV programme Nibedan in 1986, Bhango Barricade Bhango presented in the First Open Air Drama Week arranged by Mahakal Natya Sampraday, Dam Diye Kinechhi Bangla in the Third Open Air Drama in 1990 at Central Shaheed Minar in Dhaka and Sukher Khonje Sukhlal (a play based on the life of tea workers) at Bangladesh Shilpakala Academy in the weeklong National Drama Festival in 1990. In addition, the Surma Theatre participated in the drama festivals arranged to uphold the teachings of Sanmilito Natya Parishad and Ekushey. The activities of this group has spread beyond Sylhet.
Tarun Sampraday a drama organisation of Sirajganj. It was founded on 19 July 1978, to make the theatre a people's art. Its artists, technicians and performers are basically workers for the theatre and belong to different sections of society. The group, however, believes in representing the interests of the working class. It has produced both stage dramas and street dramas. The stage plays it has produced include Bine Paysar Bhoj, written by Rabindranath Tagore and directed by AKM Azad; Postmaster, dramatised by Ashgar Hossain; Chor Chor, written by Zia Ansari and directed by Ashgar Hossain; Ora Kadam Ali, written by Mamunur Rashid and directed by Nazmul Huq; Ekhan Duhsamay, Iblish and Pathar, written by Abdullah Al-Mamun; Prastuti Ebar Din Badaler by Nilkantha Sen; Sat Puruser Rn by Abdullahhel Mahmud; Ingit by SM Solaiman; Ekattarer Ksudiram and Khela Khela by Mannan Hira; Kol Badaler Khela by Saiful Islam; Abaruddha Itihas, written by Rabindra Bhattacharya and directed by Tofa Hossain and Basan, written by Selim Al-Din. The street plays it has performed are Mara, Adab and Ksyapa Paglar Pyanchal directed by AKM Azad and Abdul Momin Babu. This group believes that drama is for every one and, accordingly, they organised a 10-day workshop with workers in Khokshabari Union of Sirajganj. They also organised similar plays with participants from ten villages each at Kahalu in Bogra, Ishwardi in Pabna and Paba in Rajshahi. [Zillur Rahman John]
Theatre (Arambagh) drama group. The group called Theatre was originally established on 7 February 1972. In 1982 a group of its workers separated from Theatre and organised Theatre (Arambagh). Keramat Mowla, Momtazuddin Ahmed, Naresh Bhuiyan and Rezaul Ekram are leading members of this group.
Theatre (Arambagh) staged its first play, mir mosharraf hossain's Zamindar Darpan, on 21 May 1983. Subsequent productions include Ksatabiksata (1984), Nildarpan (jointly with Dhaka Padatik, 1985), Mahapurus (1986), Satghater Kanakadi (1989), Gantabya Bahudur (1991), Raksusi (1991), King Lear (1993), Shes Raksa (1994), Rupbhan (1996), Khamakha Khamakha (1998), etc. It has also staged a number of plays abroad such as Zamindar Darpan in Delhi, Calcutta and Jaipur (1986); Satghater Kanakadi and Raksusi in Calcutta (1992); Rupbhan in Calcutta and Khamakha Khamakha and Rupbhan in Shiliguri (1997); Khamakha Khamakha in Agartala (1998). Satghater Kanakadi by Momtazuddin Ahmed has been its most successful play so far and has been staged over two hundred times. On the occasion of its thousandth show, the group observed a week-long festival in February 1999, in which two drama groups from Calcutta and one from Shiliguri took part. Besides stage shows, the group also arranges workshops on drama and gives receptions to honour cultural workers.
Theatre (Baily Road) was established on 7 February 1972 in Dhaka by Kabir Chowdhury (President), Ramendu Majumder (general secretary), Abdullah Al-Mamun, Iqbal Bahar Chowdhury and Ferdoushi Majumder. Mahammad Zakaria, Keramat Mawla, Mamtaz Uddin, etc, joined the group later. The declared aim of this group is to produce realistic plays and publish periodicals regularly.
The first play produced by this group was Kabar by Munier Chowdhury, which they staged on 21 February 1972 at bangla academy. Ramendu Majumder directed the play. The quarterly magazine Theatre was published as a mouthpiece of the organisation in November that year. The group staged Subachan Nirbasane (Good bye eloquence) written and directed by Abdullah Al-Mamun. This highly praised play details the erosion of social norms and values during the early post liberation days.
Another play written by Abdullah Al-Mamun Ekhan Duhsamay (Bad times are here) too was well-received. In the fate of flood victims and rapacity of black marketers are depicted vividly. The most successful production of the group is the epic, Payer Awaj Pawa Jay (We can hear the footsteps) by Syed Shamsul Haq. This War of Liberation based play was first staged on 25 November 1976 at the Mahila Samiti stage. Abdullah Al-Mamun directed it. It was staged in Seoul on March 1981 in the Wold Drama festival. The Bangla translation of Shakespere's Othello by Munier Chowdhury and Kabir Chowdhury was staged on September 9 in the same year in the Mahila Samiti stage.
Theatre Natyagosthi broke into two in 1982. The main branch retained its name while the other group was named Theatre (Arambagh). Theatre (Bailey Road) was further divided into two later and the newest group was called Theatre (Topkhana).
Theatre (Bailey Road) has staged a number of successful plays of which the most remarkable are: Macbeth (1983), Kritadas (The Slave) (1983), Ghare Baire (1985), Theaterer Pala Badal (1985), Kursi (Chair, 1988), Bisalaksar Chhuri (Knife of Bisalaksa, 1989), Dyasher Manus (People from the country, 1991), Antigone (1992), Krishnakanter Will (1994), Meraj Fakirer Ma (Mother of Meraj Fakir, 1995), Chithi (Letter, 1995), Svapna Giri (Dream Hill, 1998), etc. In addition to staging play, Theatre (Bailey Road) started awarding the Munier Chowdhury Veneration medal in 1989, established the Theatre School in 1990, the Mohammad Zakaria commemoratve medal in 1997, and many seminars, workshops and festivals on drama. They have also published books and souvenirs on different occasions.
Theatre (Topkhana) The pioneers of this group are Khairul Alam Sabuj, Mijanur Rahman Suruj, Rekha Ahmaed, Asif Munir, Sahnaz Lina, etc. The productions staged by this group are: Totaram, Punarlikhan. [Anupam Hayat]
Theatre '73 was set up on 13 February 1973 in Chittagong to stage plays that reflect real life as well as plays that experiment with new forms and expressions. Since its inception, the group has been regularly staging plays in Chittagong. It has also staged plays in Dhaka and Cox's Bazaar and on television. Most plays staged by them have been written by Bangladeshi dramatists, though Byatikram, Rudraprasad Sengupta's translation of a play by Brecht, has also been staged. Among the plays produced by them, mention may be made of Massacre, based on a story by zahir raihan and dramatised by Sadrul Pasha; Kabar by Munier Chowdhury; Spartakash, Falafal Ninmachap and Harin Chita Chil by Momtazuddin Ahmed; Subhra Sundar Kallani Ananda and Elebele by Zia Hyder; Tarun O Bahman Ksata and Palatak Paliye Gechhe by Habib Ahsan. The group participated in the first and second National Drama Festivals organised by Shilpakala Academy in 1976-77 and 1977-78 and was awarded a prize for Elebele. Apart from staging plays, they have also been organising workshops on drama.
Tirjak Natyadal was established on 16 May 1974. In October 1990 some theatre workers formed a separate group named Tirjak Natyagosthi. Before it broke up, Tirjak produced 20 plays or the stage of a total of 315 shows.
After 1990 Tirjak Natyadal produced 20 stage and street plays amounting to 849 performances. In selecting plays Tirjak prefers the work of famous playwrights of home and abroad. Its notable productions include Dakghar, Bisarjan, Raktakarabi, Buro Saliker Ghare Roun, Merchant of Venice, Oedipus, Girgiti, Aj Srsti Sukehr Ullase, Samudra Pipasa, etc.
In the National Theatre Festival, 1991 Tirjak Natyadal staged Sahaj Saral Path. On 7 October 1992 it performed a play based on the real events of the War of Liberation named Smrti-71 at the central Shaheed Minar in Chittagong. On 16 May 1993 Tirjak Natyadal staged its hundredth performance of Bertoldt Brecht play Samadhan in Chittagong. Among the group theatres in Chittagong it was the first to stage a play a hundredth times. For the National Theatre Festival-2000 it counsel the slogan 'Bhalobasi Bangla Bhasa, Bhalobasi Bishwajaner Matribhasa' (We love Bangla and mother tongues of the people of the world) and staged a play by Nazrul, Madhumala, on 22 December at the Mahila Samiti Auditorium.
Since 1991 Tirjak Natyadal has organised Tirjak Natyamela, theatre workshops and seminars. At the invitation of Tirjak Natyadal, The Association of Theatrical Activities from Czeck Republic staged two plays at Muslim Hall in Chittagong on 12 December 1993. Tirjak Natyadal publishes a quarterly magazine on theatre named Tirjak Bulletin.
Tirjak Natya Gosthi (Chittagong) was founded in Chittagong on 16 May 1974. The group believe that art is not for art's sake, but for humanity. Their main aim is to create adept drama workers, creative dramatists and good spectators and to stage realistic plays. So far they have staged 26 stage plays and one street drama. They have 13 teams, each with its own dramatist. They have also produced famous plays of both foreign and local dramatists, including Munier Chowdhury, Selim Al-Din, Bertholt Brecht, Anton Chekhov, William Shakespeare, Badal Sarker, Safdar Hashmi. Their own dramatists include Rabiul Alam, Khaled Ferdaus, Mia Abdul Jalil, Ahmed Iqbal Hyder and Salauddin Bhuiyan. Apart from Chittagong they have staged plays in Dhaka, Sylhet, Comilla, Noakhali, Feni, Maizdee, Chandpur and CoxBazar. They organised a children's drama workshop in Chitagong in 1977 under the banner 'Tirjak Little Theatre'. That same year they published a magazine titled Tirjak. They have also participated in national workshops and seminars on theatre. [Zillur Rahman John]
http://banglapedia.search.com.bd/HT/T_0146.htm
Gopala
After Sasanka, the principalities that make up modern-day Bengal -- Goura, Pundra, Rarha, Barendra, Samatata, Banga, as well as Sasanka's feudatories in Magadha, Anga, Kalinga, Odra -- were shattered by repeated invasions and slid into a 100 year obscurity. The Tibetan warlord Songtsan Gampo (622-650 CE) invaded and conquered Barendra. Jayavardhana of the Shaila Dynasty from Central India marauded through and killed the king of Pundra (730 CE). Yasovarmana (725-752) of Kanauj killed the king of Magadha and Goura. Lalitaditya (724-760) of Kashmir who defeated Yasovarmana also invaded Bengal in turn. Sri Harsha of Kamarupa ransacked Anga, Banga, Kalinga, Odra. The social and political structure of Bengal was in ruin. According to Lama Taranath in his history of Buddhism in India, in that time 'all across Odra, Banga and the other five eastern provinces every single Kshatriya, every Vaishya and every Brahmin of consequence proclaimed himself to be a local king, but there was no overall monarch capable of uniting these squabbling feudals.' A number of contemporary sources borrowed the world 'matsyanyaya' or 'law of fishes' (i.e. big ones eating the smaller ones) from Chanakya to describe the prevalent situation. Chanakya had said:
अप्रणीतो हि मात्स्यन्यायमुद्भावयति वलीयानवलं हि ग्रसते दंडधराभावे
Apranito hi matsyanyayamudhbhavabayati baliyanbalam hi grasate dandarabhave
Matsyanyaya comes into being if the royal sceptre (danda) remains unapplied. In the absence of a dandadhara (wielder of the sceptre) the strong swallow the weak.
In this situation, in a fine example of democracy in a hot climate, the people of Bengal elected a certain Gopala to be the leader of Goura, Banga, Magadha et al. This took place sometime around 750. Gopala was the founder of the great Buddhist Pala dynasty, which at its zenith under his son Dharmapala had conquered all of North and Central India from 'Kedarnath (in the Himalayas) to Gokarna (in Goa),' and extracted obedience from the kings of 'Bhoj, Matsya (current MP and Rajasthan), Kuru, Yadu (Punjab and Western UP), Panchala (central UP), Avanti (Ujjain and Malwa), Gandhara(Afghanistan), Yavana (the region of NWFP held by Huns and Turkico-Persian tribes) and Kir (Kangra in HP.)' Certainly Gopala seems to have been an aggressive warrior (albeit with a nice Buddhist touch):
His uncountable armies set into motion for war, their feet kicked up such dust that the sun was obscured and the birds could walk about in densely dusty skies rather than having to fly. Upon conquering all his enemies till the farthest ocean coast, he felt no more need for conflict and released his blood-maddened war-elephants to freedom in the forests; they, after a while, returned to meet their human friends with tears of joy running from their elephant-eyes.
Those loath to admit Bengalis as a martial race point out that previous invaders of Bengal now counter-attacked by the turning worm were themselves in decline, and that the hollowness of the Palas' military victories was proven when much of their western conquests were lost, within a few generations, to the Gujjars moving in from Central Asia, and to the Pratiharas under King Bhoj; but the two repeated expensive and successful forays into Uttarapath overlordship -- first by Sasanka in the 7th century and then by Dharmapala in the 9th -- points if not to military prowess, then at least to the agricultural surplus that could be generated by 'Sonar Bangla.'
Gopala's origins are somewhat obscure. Certainly the court poets of the Palas do not boast of the lineage of their patrons, which leads to the suspicion that there was not much to boast of. We read Gopala's father Bapyat was a student of the science of war, and his grandfather, a certain Dayitvishnu, was a 'sarva-vidya-vit' or polymath.
From Wikipedia:
According to Taranatha, Gopala was born of a Kshatriya family near Pundravardhan (north Bengal) and was later selected a ruler of Bangala (Vangala). But some of the historical writings of this period claim that Palas belonged to Shudra caste. Some later writings even claim the Palas were Kayasthas as some of the Pala descendents claimed to belong to the sub-caste. Ramachrita of Sandhyakar Nandi, a court poet of later Palas, states that the Pala dynasty belonged to Samudrakula or Ocean lineage. It is not clear what this really means. Probably, this holds a clue that the ancestors of the Palas belonged to a shipping community of kshatriya cum-trading group who conducted trade via sea with other nations. This may allude to their probable links with the northwest Kambojas who are also attested to have been both a Kshatriyas as well as traders class (varatta-shastropajivins).The Kamauli Grant of king Vaidyadeva of Kamarupa (Assam) connects the Palas to 'Surya lineage' (Mihirasya vamsa).This may again imply their probable connections with the ancient Kambojas who were indisputably Sun/Fire worshipping Iranians.
Haribhadra, a contemporary of Gopala's son Dharmapala mentioned in his Ashtasahasrika Prajnaparamita that the Palas ‘fell from the line of Rajbhatta (Rajbhatta-Vamsa-Patit).’ Rajbhatta can mean Royal Bard, or Royal Servant, and there is also a historical Rajbhatta, who was the son of Devakhadga of the Khadga Dynasty that ruled Banga in the 7th century. Sandhyakar Nandi further states that Barendra or North Bengal was the fatherland (Janakabhu) of the Palas. In a copperplate inscription it has been described that Mahipala recovered his fatherland (Rajyam Pitram) from his enemies -- apparently North Bengal occupied by the Kambojas. Another story in the bard Ghanaram's Dharmamangal describes the Palas being planted out of wedlock in the womb of a princess by the Ocean.
It seems plausible, to echo the treatment of scholars like Rakhaldas Bandyopadhyay, that Gopala originated from Banga (East Bengal) -- deep enough from the deltaic area to qualify as being of Ocean-lineage, obscure enough for even the most enterprising bard not to be able to shed much light on his historical lineage, and that his descendants later settled in Barendra (North Bengal).
However, according to Sir Jadunath Sarkar, Rajbhatta was also the name of a tribal people of ancient India, who lived in the swathe between Gorakhpur and Bundelkhand. The Cheros, who ruled for example in Palamau in Jharkhand till the 17th century, are a branch of the Rajbhattas. There are still many Chero landlords in Palamau, and they consider themselves to be Rajputs, and have surnames like Sisodia. If, indeed, a Bais Rajput tribal soldier from Ayodhya's Baiswara could establish a landlordship in Bengal, convert to Islam, and later rule as Isa Khan, is it so farfetched to think of another wandering charismatic Rajput lord inserting his genes in the coastal Bengal pool of ocean-faring, Indo-China-facing naval chieftains, out of which several generations later arose a great Buddhist warrior, elected into kingship?
In a copperplate inscription from the reign of Dharmapala found in Khalimpur we read: 'In order to banish the Law of Fishes, the Natures (Prakriti-punj) gave to [Gopala] the hand of the Kingdom-goddess Lakshmi. He whose great deeds can only be imitated in lustre by the white light of the full moon, that leader of men and the great diamant gem of his clan, Gopala was born of Bapyat.'
The reference to 'Nature' giving Gopala the kingship is interesting. In the Arthashastra, Chanakya says:
स्व्यम्यनात्य जनपद दुर्ग कोष दण्ड मित्रानि प्रकृत्या
Swamyanatya janapad durga kosh danda mitrani prakritya
i.e. Nature is consisted of the ministers and the friendly officials in charge of the administration of countryside forts, fortified towns, treasury and the army.
In other words, when Matsyanyaya prevented the peoples from organizing a general election on the basis of adult franchise, the mandarins from the official corps could be considered a representation of the nature or essence of the people.
In other words, Gopala may not have been elected in a modern sense, but selected by his peers -- other feudals.
Under the patronage of the Palas, Mahayana Buddhism rose to greatness in Bengal. The Universities of Nalanda, Vikramashila, and Paharpura (pictured above) flourished again after Sasanka's Brahminical counter-reformation. It was through the Pala missionaries that Buddhism was finally established in Tibet. The celebrated Buddhist monk Atisa Dipamkara Srijnana (981-1054) of Vajrajogini in Banga, who reformed Tibetan Buddhism, was the head abbott of the Vikramashila monastery. The Palas maintained relations with the Hindu-Buddhist state of the Shailendras of Sumatra and Java. Also under Pala patronage arose a distinctive school of art, an example of which is shown below.
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Subhash Mukhopadhyay (poet) - Wikipedia, the free encyclopedia
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Manik Bandopadhyay, one of the most important and influential novelists in Bengali literature, had his own way of presenting the Bengal rural life. ...
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23 May 2008 ... This 19th May is the 100th birth anniversary of Manik Bandopadhyay, one of the most central and powerful novelists in Bengali literature. ...
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This book carries Assamese translation of Bengali Novel - Putul Nacher Itikatha by Bengali novelist Manik Bandyopadhyay. It has been translated by Rajen ...
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1 Sep 2008 ... May 19, 2008 marked the birth centenary of Manik Bandyopadhyay (1908- 1956), one of the most influential novelists in Bengali Literature. ...
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“Janani” is the first published novel of Manik Bandyopadhyay, one of the most powerful Indian novelists of 20th Century. For a long time 'Janani' had rested ...
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The chief minister was speaking at a function to mark the birth centenary of author Manik Bandopadhyay, one of the leading novelists in post Tagore Bengali ...
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Novelist Mani Shankar Mukherjee or Sankar, a household name in Bengal, ... Benoy Mukherjee or 'Jajabar', Saradhindu Bandopadhyay and Manik Bandopadhyay. ...
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Left trains gun on Mamata in West BengalBusiness Standard - 19 hours ago If one goes by the tone of campaign by the ruling Left Front in West Bengal, it would leave no one in doubt that its guns are trained on one single woman: ... Mamata mum on Sonia no-show Times of India Won't join NDA, says Mamata Economic Times Over 80 per cent voter turnout in West Bengal repollingHindu - May 10, 2009 Kolkata (PTI): More than 80 per cent polling was recorded on Sunday in 15 booths of West Bengal where repolling was held peacefully on Sunday. ... Repolling in 15 booths on May 10 Expressindia.com Over 66% vote during repoll Times of India Repoll not required in Bihar's certain constituencies: EC Press Trust of India Buddhadeb denies return of Nano project to SingurHindu - 2 hours ago Kolkata (PTI) Denying media reports quoting him that the Nano car plant would return to Singur, West Bengal Chief Minister Buddhadeb Bhattacharjee on Monday ... Left to join government if it has meaningful role: Buddhadeb Hindustan Times Karat's view pre-poll position of CPI(M): Buddhadeb Press Trust of India Buddha focuses on Third Front at S Kolkata rally Times of India West Bengal may seek central force deployment in NandigramThaindian.com - May 10, 2009 Kolkata, May 10 (IANS) The West Bengal government may ask for deployment of central paramilitary forces in East Midnapore's trouble-torn Nandigram if the ... Central force set to make a comeback Kolkata Newsline West Bengal governor regrets post-poll violenceThaindian.com - May 10, 2009 Kolkata, May 10 (IANS) West Bengal Governor Gopal Krishna Gandhi Sunday regretted the poll-related clashes in parts of the state and urged parties and their ... Six killed in post-poll violence in India's West Bengal Earthtimes (press release) Terai and Dooars bandh disrupts normal life in West BengalHindu - May 10, 2009 Jalpaiguri (WB) (PTI): Normal life was disrupted on Sunday with train and other transport services being hampered at Dooars and Terai region in north Bengal ... No room for Left in Dooars turf battle Times of India Terai-Dooars strike commences The Statesman Tribal body on indefinite strike Expressindia.com 75 per cent polling in West BengalTimes of India - May 7, 2009 Of West Bengal's 42 seats, 14 went to the polls April 30, while 11 will vote in the last round May 13. The votes will be counted May 16. Voting for West Bengal The Statesman West Bengal records turnout of 75 per cent, Bihar 37 per cent Hindustan Times Bengal records 70-75% voter turnout in Phase II pollsBusiness Standard - May 7, 2009 Barring a few scattered incidents of violence reported in several districts of West Bengal, the second phase of elections has been largely successful with ... CPM seeks repoll in 58 Nandigram booths Times of India Tension and mercury soar in Bengal's phase II, 5 left dead Kolkata Newsline 'Pro-People Govt At The Centre Is The Need Of The Hour'People's Democracy - 10 hours ago The affront that the commentaries of Pranab Mukherjee and also of Dr Manmohan Singh and Rahul Gandhi contained vis-à-vis Bengal of late would surely meet ... Karat takes a U-turn on backing UPA Chandigarh Tribune Karat tells Congress who's the boss Times of India Devil's Advocate: Karat says he's no kingmaker IBNLive.com Pranab defends tie-up, scoffs at Third FrontTimes of India - 16 hours ago In south Bengal, where Mamata's influence is unquestioned, we decided that they'll field 31 candidates. In North Bengal, Congress has always performed well ... Left is the root of instability: Pranab Expressindia.com |
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