Chak Bhanga Modhu is one of the finest creations of Manoj Mitra. Though written in the backdrop of Sundarban, the message is Universal. Every person owes to the society. There is only one message Let Me LiveAnd Let Others Live.
Great Hindi poet Maithalisaran Gupta writes ‘Manushya Hai Vahi Jo Manushya Ke Liye Mare’
About the theatre Group Sanlap.
Sanlap, Mumbai, a very well known nationaly for their achivement in the field of bengali drama, recitation, shrutinatak and anchoring of programme. Since last Durga puja we have performed a special programme with title, kabitar chande, nataker dwandhe o ganer anande. It’s a unique combination of kabita, shrutinatak and songs, presented in such a manner that kabita relate with songs and in turn it relates with a drama. A 2-hours programme sails smoothly because of selected lovely recitation and a versatile singers combine well with hilarious shruti natak and mimikri. Shri Amorava Banerjee, Research scholer in nuclear science, a versetile Singer who is very much at ease in singing.
A village, on the bank of a river, rooted on eroding soils, is standing uncertain with all its treasures, history, heritage, culture and all her very own people. The name of hers is not mentioned here. Her geographic location may be in Maldah, Murshidabad, in the basin of a barrage constructed by ‘ Jantraraj Bibhuti’ the place may be somewhere in coastal Orissa, or on the shore of North Atlantic or Pacific ocean… even the name of the village may be something like. . . The Earth… The human.. -or. relation.
Anirban, originally the son of this soil, deals academically with river-science. This academic wisdom once snapped his umbilical cord. He is now on his way back home. Trying to feel, to understand, the river, the Earth, the wotnan..
Anirban discovers that, his River smells like garbage, bearing his own spits and shits and semen; his Earth is turning pale & blue consunning venom ejected by himself and his civilization.
Anirban discovers a great uncertainty in the behavior of his river, his earth, defying the deterrninistic structure laid down for them by science & civilization. He feels this uncertainty as the expression of the living conscience (Chaitanya) of the Mother Nature. Anirban tries to open dialogue with her through his language of BELIEF. During this journey he discovers, as his civilization merely utilizes the nature as the material resource and garbage destination of waste, considering her lifeless, he himself, the man, has established the same relationship with Dharti, his own woman.
Out of pain, anguish the river, the Earth and even Dharti want to leave him in solitude. It is not mandatory to achieve success in all ventures of life, but Anirban has now no other alternative but to protect his space against all these erosions. He continues his journey with all the villagers rooted in the same space, armed with the weapons of LOVE & BELIEF.
Chandranath tries to uproot all these people from this piece of land and settle them over unstable sandy islands, in order to commission plants & machines here, in order to lease the river to ‘capital’.
The people of this Earth, circled around Anirban or Medini Bhairabi with all their desperate emotions. Conflict of knowledge and power keep theni mum all throughout, despite of their strongest physical presence.
The River grows in anger. Water heightens her level. Dream still breaths in the air ofbelief. Love may also. . . A storm brews. . .
Asukh deals with the myriad imperfections of personalities and relationships that reveal themselves in their ugliest form, in the due course of working amongst a group of people. The play projects this message with the medium of theatre; a struggle that every theatre artist has to make in order to establish his roots deep into the core of the group he works with. While some may succeed in this process, behind their success lies a web of deceit, politics and corruption. The rest, the genuine theatre lovers, are left with shattered hopes and expectations.
Shekhar Dutta runs Paschim Banga’s most renowned theatre group. Rupon, named after his deceased son. His wife, Mitali, yesteryear’s star, assists him. Shekhar has married off his daughter Jhuma to Manoranjan (Mano), his disciple and an upcoming actor in his group. This was a mere ploy, to retain his talent and use him as a puppet. But Mano, despite his small-town humble antecedents, catapults to fame and becomes the toast of the theatre world. Jhuma, a talented actor for whom her father, Shekhar Dutta, has been the centre of her universe, cannot come to terms with her father’s nonchalance towards her own career, as well as Mano’s new found humungous ego. In this clash of egos, in this drama of hypocrisy, can theatre win???
Romi o Juli: It is love that transcends and rises above venomous hatred and jealousy. Only love. But love does not always win. Romeo and Juliet lie dead. A death of innocence and passion. The richness of eternal truth in the plays of Shakespeare transcends centuries and touches our heart in present times. In our own way we are inspired and energized to create a new text. Let us imagine that William Shakespeare’s immortal text Romeo and Juliet is being taught at a premier educational institution in the city. The lesson is being imparted by two professors. Love blossoms between them. Traditional rigid and puritanical Brahmin blood courses through the veins of the wonjan.
Her lover belongs to a Scheduled Caste and that makes her fear his love. And in the class that they teach belong Romi and Juli. They live near each other but like the enmity that was present between the Montagues and the Capulets in the original play, the families of Romi and Juli are engaged in a longstanding feud. Unreal and real merge while the play is being taught in class. Romi and Romeo become one, Juli becomes Juliet. Friar Lawrence is the local marriage registrar. We travel in and out of the play, Romi and Juli’s story takes a different turn but retains the structure and essence of the Bard himself. Death inevitably immortalizes romance. The two professors choose to end their lives rather than accept the fact that being together is not an option for them. But as is usual, time does not stand still. And the language of life starts speaking from among the debris of dead bodies. They live and act out the death scenes to prove that love is the answer to hatred. Romi O Juli is a testament of our present times which follows the original text and its journey. At the same time our voices, reverberate along with the original play and creates a unique experience.
A Ghost! A Mistress! A Will! Sadichha-r Rangbadal, an apt translation of Sahitya Acadenny Award winner Mahesh Dattanis “Where there is a Will” a wacky comedy of the Last Wish.
Welcome to the lavish house of Hasmukh Mehta, an autocrat business tycoon who enjoys ruling his family and his self-earned business with equal dominance. The curtain rises to unveil a conversation between Hasmukh and his 27-year old son, Ajit, who inevitably disapproves his patriarch father. Hasmukh’s family, through his eyes, casts a boring wife Sonal with an insipid marital life, a nincompoop son Ajit, and a daughter-in-law Preeti who is sly as a snake. But, the play suddenly takes a sharp turn with the demise of Hasmukh Mehta.
The play in which sub-inspector Teenkori Halder comes knocking on industrialist Chandra Madhab Sen’s door to enquire about the suicide of a girl on the day before Modi’s trip to the city to address a business meet. Based on JB Priestley’s famous play, An Inspector Calls, ‘Thana Theke Aschhi’ has been adapted for both stage and celluloid before. Infact, Shyamal Sen, had staged the play in 1978. It was based on an interesting adaptation in Bengali by Ajit Ganguly. The recent production follows the same text but has been contemporized. The backdrop of the play is 2013. Set in a family of industrialists, it also shows how Modi’s visit gets the business circles buzzing.
With an eye on next year’s parliamentary elections, the businessmen are seen excited about the prospect of meeting Modi the poster boy of development. Through the play what unveils is the insecurity of working in the private sector. The girl, who takes her life, was also faced with a similar crisis.
After his car breaks down, Gerardo Escober, a lawyer, who has just been chosen to head the Commission that will investigate the crimes of the earlier regime in Chile, is rescued by doctor, Robarto Miranda. However, Paulina, Gerardo’s wife recognizes in the sound of the doctor’s voice another man – the one who had raped and tortured her as she lay blindfolded in an army detention centre some years before. A shocking tale of retribution and revenge, ‘Meyeti’ is a psychological thriller about Paulina’s diligent search for justice at any cost. She has been unable to break free ofthe painful memories of her past. Through a chance encounter she may have stumbled upon the very man who had tormented her.
‘Raktakarabi’, the play named after a red flower tells about a king who lives behind an iron curtain while his subjects are to face cruelty and death delivered upon them on the slightest pretext. The play takes place in a kingdom where humanity has never set its foot. People are forced to work in the mines. One day a young woman ‘Nandini’ comes in search of her lover. Shortly after her arrival, every man in the kingdom, including the king feels a desire to get her. However, when they fail to get her, the feeling of not having something that the hearts truly desires and the emptiness in their hearts start to take over and a conflict begins to befall as the play progresses forward.
On that kingdom chained people are like machines. As if time halts listening to the scream of encaged spirit! And then at some point blood sheds when ‘Nandini’ sings the songs of freedom. At the end, finally righteousness comes out everywhere shattering all the darkness and obstacles. ‘Tagore’ could foresee even 100 years back that in vague and meaningless capitalist society human are treated as machines. But the truth prevails to the end.
Raktakarabi, 39th production of’Tirjak Natyadal’ was first staged on 12th October, 1996 at the ‘Chattagram Studio Theatre Hall’. Till 2000 it has been staged 48 times. In the second phase ‘Tirjak’ started re-playing ‘Raktakarabi’ in 9th December, 2007 and did 100th staging in 13th July, 2012 at TIC. Raktakarabi is being staged regularly now.
The play Raja Himadri apparently looks like the Bangle version of Greek Oedipus as it maintains story of the classic almost intact. It is not easy to adapt and dramatize such a popular play like Oedipus in your own way. To contemporize the play with our own context, I had to take instances from our Indian myth, epic histories and other events.”
What’s the derivative factor of creation? Does it come through the pertained affection of the nature? Which undivided relationship makes a connection between human being and the nature? Does the hypothesis of relationship only stands upon the requirement from the nature? Why the universe confines even only a slight matter with its entire affection? Dose worship means seeking for the truth oflife?
Is that worship resembled to love? If so then is it possible of turning aside to aversion? How two distinctive streams like love and aversion flow at the parallel way? Dose one can obtain the favor by suppressing the other? How long the prevailing desire of dominance would suppress the mankind? Are people related with this vigorous
destruction remains beyond all questionnaires? If so then what’s the meaning of sin and holiness to them? Is self-abnegation is one and only way to take a hand against aversion?
It’s a vent important question at present why the mankind is passing the crucial moment with wide spreading dealings, jealousy, ignorance and destruction? How long the exercises of power dominate the human and humanity? Who will judge the world wide killing that going on? Who.
Can the person stand still even at the oddest circumstance after facing the truth?
