Prachyo Theatre Festival 2015

Plays in Prachyo Theatre Festival 2015

Spartacus

A significant section of the world history and also a unique story of protest, the Roman slave revolt against the injustice, slavery and oppression of the Roman Empire is Spartacus. From 74 to 71 BC, the slave revolt led by slave leader Spartacus was blocked the mighty armies of the Roman Empire. Roman armies raided repeatedly failed, but the end of

Spartacus, however, was defeated. Spartacus was killed brutally in the War field by Roman army and 6,472 of his associates crucified on either side of the street in Rome.

Before the death one of the slaves cried out, I’ll return again, again in hundreds and thousands… That is the main theme of Swapnadal production Spartacus. Indeed, the struggle for independence, the struggle for Freedom, the struggle for Dignity can never be silenced. But it returns again and again by achieving more and more energy until the victory come. And for this, Spartacus is considers as the ultimate inspiration of all of the revolution-struggle of the next-world!

The Production is dedicated to the entire victims of Garments Factories in Bangladesh including Savar-Tragedy of 2013.

Teen Paysar Pala

Ajitesh Bandyopadhyay's Teen Poisar Pala was an adaptation of the German Play Die Dreigroschenoper (Three Penny Opera) by Bertolt Brecht.

Not only the greatest literary geniuses of the world has pointed out, but also the half-literate idiots like us, who try to gather knowledge fr6m various pockets, will acknowledge that the Brechtian plays do not follow any known or given mould.

If we try to post mortem the exact style, then we will end up discussing the typically heavy topics like History of Performance, Marx, Lenin, Hitler’s Germany, Expressionist Evolution etc. and end up without reaching anywhere and feel like facing the void more than ever before, as idiots will remain Idiots, forever.

Hence it is easier to follow the Brechtian logic adding a dash of Bollywood to it (BECAUSE Mahindranath loves it)!

Ajitesh Bandyopadhyay had adapted the same usage of introducing the acts through posters in his translation and production (which Sangharam has chosen not to follow) – i.e. at the beginning of each act, introducing the characters and their consequences through short important persona to his country and country-men, especially the women … in the meantime he has eloped with Jatin Pal’s daughter Parulbala.

Jatin Pal, the King of Beggars, approximately 7000 beggars work under him, collecting money from the streets of Kolkata … it is but natural that Jatin Pal is angry with Mahindranath and has promised revenge.

Botokeshto Sarkar, a senior Police Officer who believes in do whatever for own benefit, very friendly with Mahin… wait and watch how Jatin Pal uses Botokeshto to bring Mahin to the gallows.

Jyotsna, a prostitute from Sonagachhi, Mahints kept, loves Mahin with all her heart, and once the two of them lived together, which finally did not work out. So she remained a prostitute. The prostitute has also promised revenge as she has not achieved being a wife…

Lotu, Botokeshto’s daughter, is another of Mahin’s wives. She is all ready to fight for Mahin’s life as she averts widowhood . . . but according to Mahin, Botokeshto is a Gobindo and his daughter is a Paanchi.

Mahin, unfortunately, is not being able to contest any of the revenges even while being loved by his country and country-men. Why? Is he an idiot? Or weak? Or helpless? You have to watch to if you want to know… A Trailer is this much and no more, so please do not expect the same, just watch the show. However, we can tell you that the various names that you came in contact with going through various incidents and accidents do not belong to faces but to masks. There are no humans in this play, my brother, but human like shadows, and there are many rascals in the play, whom you will find in the casting list and on the stage in action.

A small request, do please remember to enter the hall wearing your own mask, or else if you watch with open eyes and find similarity with any of the masks on the stage that match your own, you might not feel comfortable. The chances for the same are less if you are already behind 1 a mask. So b ready to mask yourself as we are about to start – “Teen Poisar Pala”!

Kalmrigaya

Abdha Muni a blind sage lives in a forest with his son Rishi Kumar, surviving on whatever nature offers and the Sarayu River. Rishi Kumar and his young friend Leela enjoy the lush sylvan surroundings of the forest The Bono Debis or the wood nymphs who are the guardian angels of the forest look on indulgently as Rishi Kumar and Leela roam around and frolic amongst the abundant flora and fauna and lead a carefree happy and loving existence. And then one day disaster strikes.

The blind sage asks Rishi Kumar to get him some water from the Sarayu river that flows through the forest. Rishi Kumar sets out as storm clouds gather.

The Bono Debis urge him not to venture out in such conditions but he insists as he feels compelled to quench his father’s thirst. The Bono Debis anxiously watch him and pray for his safety. In the meantime King Dasarath loses and his band of hunters come to the forests for a Royal hunt. Dasarath loses his way in the forest and suddenly hears a strange sound. Mistaking the sound for an animal drinking water in the river, he shoots an arrow in the dark towards it. But alas! Much to Dasarath’s horror, he finds that it was Rishi Kumar who was filling water in a vessel.

Rishi Kumar’s unfortunate death leaves Dasarath shattered while the forests are looted and plundered by his band of hunters. Dasarath carries his body 12ack to the blind sage and although the sage curses Dasarath, he also forgives him later, but the forest lies empty and desolate without Rishi Kumar’s vibrant presence, and the Bono Debis lament his loss and the destruction of the forest.

Sunil Gangopadhyay

A towering persona who himself had spread his creative excellence in almost all the avenues of literary expressions ; one who had left his life’s incidents and thoughts in innumerable words, challenging the theatre practitioner towards imploring intricacies and subtleties. It becomes more challenging when the cult figure is still afresh in the viewer’s own experience with all the emotions and sentiments attached, personally or otherwise.

Hence, the production has remained focused on the mode of representation rather than impersonation of Sunil Gangopadhyay.

Rather than exposing the untold occurrences or attempting to make him a cult figure through emotional journeys, the theatre production attempts to discern the dialectics and cohabitation of a creative person’s multiple aspects and facets. By the way of non-narrative style, which is otherwise most common for any biographic representation, this production moves hastily to and fro through this creative world and personal world parallel so as to inquire and discern his internal journey of his personal, social, political world of thoughts.

Sri Sambhu Mitra

The immortal characters of the different plays of Sambhu Mitra come alive from the mist of oblivion and invoke their creator. The creative urge that instilled life in those characters is no more and the vivacious characters group in a claustrophobic world and feel suffocated. Everybody seems to be wearing masks. The Characters can hardly find space in their artistic being and hence, they yearn for that artist par excellence who could command them to speak from their conviction. At this juncture appears Sambhu Mitra the pioneer of the modern Bengali as well as Indian Theatre. He interacts with his characters.

It has been a traditional belief characters having a profound knowledge of the different dimensions of their creator’s mind. These enlightened characters sometimes accuse him for his different controversial gesture. Their arguments penetrate his well-practised indifference, sometimes they also to down before his righteousness and something they seemingly fail to appreciate some of his gestures. Thus both the creator and his characters become one, they share each other’s pain, shed tears and the feeling of harmony they eats helps one to get nearer to the fathomless depth of a myriad mind.

Galileo Galilei

See, I look.

If you can look, observe —Jose Saramago.

Here is the age of darkness where reason is lost to faith, seeing to blindness. In it time also prepares a Promethean man with a telescope in his hand to profess seeing is believing. Suddenly the earth starts to revolve and with it the century-old Ptolemic theory of an earth-centric universe dissolves, the Heaven abolishes. Knowledge, so far bound in ordain of divinity becomes unbound.

It poses dire threat to the authoritative power that binds both religion and state together. The church calls it heretic, the state blasphemy and the man is brought to Inquisition for trial. If he persists in his view the Church has the legal power to have him tortured and even burnt alive. Being scared of physical pain the man submits and recants publicity. For the rest of his life the half-blind, age-worn man lives as a prisoner of the Inquisition. Still in the abyss of a maze the man completes writing Discorsi – the magnum opus of modern science, heralding the advent of a New Age. The man is none other than Galileo Galilei one of the greatest antithetical heroes of all times.

Morachand

The inner conflict within an artist and his art…what drives an artist, his personal life’s joy, grief, agony, triumph, failure or the demand of his art form? Which will address this eternal artist himself?

His inner voice? The society? The art?

Blind ektara player Paban fails to answer when his soul raises the sam question. Music is not his profession but the way to reach the god Music is his worship.

Unfortunately Paban’s wife Radha and his maternal aunty lack the same unworldly vision so they fail to judge the artist. As a result Paban is being accused of his failure to feed his family and me his music being blamed for his irresponsibility towards his family. When the ayens, bayens, fakirs, bostoms could feed their family properly?

Paban’s answer is considered as his incompetence and irresponsibility towards his wife and aunt. Thus the bitterness increases. To make the situation worse for Paban Ketak Das Kirtania appears the scene and Radha gets attracted towards him. Ketak Das creates and generates sensuality within the traditional devotional lyrics of Gyan Das and Gobindo Das. That trick is the key of Ketak Das’s success and people truly start worshiping him. Radha also loses her fit by Ketak Das’s appeal and poor Paban fails to convince her that Ketak Das is far away from the original devotional spirit and he uses sensuality only for cheap popularity. Radha does not buy Paban’s argument and counters saying this reflects Paban’s incompetence and jealousy. Paban loses his heart with the allegation. Radha leaves him for Ketak Das.

Philanthropist Sachin Babu, at this juncture, brings ray of hope in Paban’s life when the artist is about to fall. Sachin Babu realizes, if an artist has to go through a common man’s daily struggle then art will always suffer, not only the artist. Sachin Babu refuses to let Paban face the same conflict. But Paban has already started his journey towards solitude and destruction. Paban fails to keep his spirit alive. Paban fails to keep his hope alive. His voice gets ruined, his tunes don’t play the rhythm, his aktara no longer creates soul of music. But Sachin Babu inspires him, forget the broken voice, leave the confusion, you will have to sing like the cacophony of the Inspired Paban bounces back and sings,

Bachbo bachbo re amra…

Bachbo bachbo re

Alor Chamok

Sultan Jodi Churi Korte Paren tahole amrau kori — a dialogue of this play explains everything, If the Sultan can steal, so can we, this habit of Stealing has become a very common expression now-a-days, and has become a part of our society, it’s very important to give good values to our children for their better future, we see in this play, a young boy buys some presents for his mother and younger brother from a mela, but mistakenly is accused of stealing it, after a lot’s of accusations and counter accusations, righteousness wins and Sultan gives a honest verdict, and the truth and honesty of the young boy wins, small dreams and high ambitions are part and parcel of our life, but among all these we need to remember this eternal truth, nothing is constant in this world, so instead of running behind materialistic life, lets live a life full with honesty, peace and happiness and lets spread it to others too.

Chayabazi

The play hinges on the diabolical power struggle between a set of characters, who want their old stories to be re-enacted in accordance with their old plots and another set of characters, who attempt to change the old story.

In the play the Shadow, the protagonist knows that his life follows the plot of Andersen’s Tale. But his romantic idealism is destroyed by the cynicism of his worldly shadow or double. He attempts to change the outcome of the Andersen tale to maintain his idealism, while his shadow attempts to re-enact the Andersen Plot.

The Shadow play expresses the liagic Moral Philosophy. In this play,’ Shadow represents the evil, bad and worthless. The cynical re-enactment of the Old Andersen plot asserts the powerlessness of moral faith and free will in the real world, while the scholarly protagonist’s attempts to alter the Andersen plot to assert his faith in his own moral values.

The play asserts the philosophy of old fairy tales that good is eventually defeated by the evil, given the endemic strength of the latter in human nature and in the dragons of political institutions. The playwright presents his moral heroes as possessors of an absurd existentialist faith in the power of their own actions to thwart the seemingly inevitable triumph of the Evil.

Othello

The play opens with Roderigo, a rich and dissolute gentleman, complaining to lago, a high-ranking soldier, that lago has not told him about the secret marriage between Desdemona, the daughter of a Senator named Brabantio, and Othello, a Moorish general in the Venetian army. He is upset by this development because he loves Desdemona and had previously asked her father for her hand in marriage. lago hates Othello for promoting a younger man named Michael Cassio above him, and tells Roderigo that he plans to use Othello for his own advantage. lago is also angry because he believes, or at least gives the pretence of belief, that Othello slept with his wife Emilia. lago denounces Cassio as a scholarly tactician with no real battle experience; in contrast, lago is a battle-tested soldier.

By emphasizing Roderigo’s failed bid for Desdemona, and his own dissatisfaction with serving under Othello, Lago convinces Roderigo to wake Brabantio, Desdemona’s father, and tell him about his daughter’s elopement. Lago sneaks away to find Othello and warns him that Brabantio is coming for him.

Before Brabantio reaches Othello, news arrives in Venice that the Turks are going to attack Cyprus; therefore Othello is summoned to advise the senators. Brabantio arrives and accuses Othello of seducing Desdemona by witchcraft, but Othello defends himself successfully before an assembly that includes the Duke of Venice, Brabantio’s Kingsman Ludovico and Gratiano, and various senators. He explains that Desdemona became enamoured of him for the stories he told of his early life, not because of any witchcraft. The senate is satisfied, but Brabantio leaves saying that Desdemona will betray Othello. By order of the Duke, Othello leaves Venice to command the Venetian armies against invading Turks on the island of Cyprus, accompanied by his new wife, his new lieutenant Cassio, his ensign Lago, and Emilia as Desdemona’s attendant. The party arrives in Cyprus to find that a storm has destroyed the Turkish fleet. Othello orders a general celebration. Lago schemes to use Cassio to ruin Othello and takes the opportunity of Othello’s absence at the celebration to persuade Roderigo to engage Cassio in a fight. He achieves this by getting Cassio drunk after Cassio’s own admission that he cannot hold his wine. The brawl alarms the citizenry, and Othello is forced to quell the disturbance. Othello blames Cassio for the disturbance and strips him of his rank. Cassio is distraught, but lago persuades him to importune Desdemona to act as an intermediary between himself and Othello, and persuade her husband to reinstate him.

Lago now persuades Othello to be suspicious of Cassio and Desdemona. As it happens, Cassio is having a relationship of sorts with Bianca, a prostitute. Desdemona drops a handkerchief that was Othello’s first gift to Desdemona and which he has stated holds great significance to him in the context of their relationship. Emilia steals it, at the request of Lago, but unaware of what he plans to do with the handkerchief. Lago plants it in Cassio’s lodgings as evidence of Cassio and Desdemona’s affair. After he has planted the handkerchief, Lago tells Othello to stand apart and watch Cassio’s reactions while Lago questions him about the handkerchief. Lago goads Cassio on to talk about his affair with Bianca, but speaks her name so quietly that Othello believes the two other men are talking about Desdemona when Cassio is really speaking of Bianca. Bianca, on discovering the handkerchief, chastises Cassio, accusing him of giving her a second-hand gift which he received from another lover. Othello sees this, and Lago convinces him that Cassio received the handkerchief from Desdemona. Enraged and hurt, Othello resolves to kill his wife and asks Lago to kill Cassio as a duty to their intimacy. Othello proceeds to make Desdemona’s life miserable, hitting her in front of her family. Desdemona laments her suffering, remembering the fate of her mother’s maid, who was forsaken by her lover. Roderigo complains that he has received nothing for his efforts and threatens to abandon his pursuit of Desdemona, but Lago convinces him to kill Cassio instead, because Cassio has just been appointed governor of Cyprus, and – Lago argues – if Cassio lives to take office, Othello and Desdemona will leave Cyprus, thwarting Roderigo’s plans to win Desdemona. Roderigo attacks Cassio in the street after Cassio leaves Bianca’s lodgings. They fight and both are wounded. Cassio’s leg is cut from behind by Lago who manages to hide his identity as perpetrator. Passers-by arrive to help; Lago joins them, pretending to help Cassio. When Cassio identifies Roderigo as one of his attackers, Lago secretly stabs Roderigo to stop him from confessing. He then accuses Bianca of the failed conspiracy to kill Cassio.

In the night, Othello confronts Desdemona, and then smothers her to death in bed, before Emilia arrives. Othello tries to justify his actions to the distressed Emilia by accusing Desdemona of adultery. Emilia calls for help. The Governor arrives, with Lago, Cassio, and others, an Emilia begins to explain the situation. When Othello mentions t handkerchief as proof, Emilia realizes what Lago has done. She expose him, whereupon Lago kills her. Othello, realizing Desdemona’s innocence attacks Lago but does not kill him, saying that he would rather have him live the rest of his life in pain. For his part, Lago refuses to explain his motives, vowing to remain silent from that moment on. Ludovico, Venetian nobleman, apprehends both Lago and Othello, but Othello commits suicide with a sword before they can take him into custody. At the end, it can be assumed, Lago is taken off to be tortured, and Cassio becomes governor of Cyprus.

Jara Agun Lagay

Gottlieb Biedermann lives in a town, which has recently become the target for a series of arson attacks. One day, a homeless ex-wrestler called Schmitz knocks on his door, demanding to be let in. Schmitz forces his way into the house, although he is cordial, gentle and unobtrusive in his manner. Schmitz asks Biedermann if he can sleep in his attic and Biedermann agrees.

Soon, one of Schmitz’s friends, an ex-waiter by the name of Eisenring, arrives and begins to live in the attic.

Throughout the night, the two visitors transport barrels of petrol into the attic. Biedermann tells Schmitz and Eisenring that he won’t allow them to use his attic for the storage of petrol and threatens to call the police. Gradually, the two visitors begin to settle into the house and Biedermann tries to make the best of a bad situation by becoming friends with them, hoping that by doing or they will leave him be. Schmitz and Eisenring openly announce the fact that they intend to burn down Biedermann’s house, but their host assumes that they are joking. But the inevitable happens.

Jaydev GeetGovindam

Incantation is poetry sublimated, music is sublime incantation that is divinity. Geetagovindam is the divine text that Jayadeva wrote during bada shinghara about Krishna and Radha, this has been a temple ritual for the last eight centuries. Scholars hold that Jayadeva, the author of Gitagovindam was born at Kendubilva or Kenduli sasan in the first half of 12th century. Life of Jayadeva is more interesting than fiction. He is a poet of nature, a poet of rasa, a poet of love and devotion. The play is about Jayadeva’s quest for meaning in life and his creative pursuits and the accomplishments.

Jayadeva the great poet of the land of Odisha has earned a cosmopolitan identity across India and still beyond. His Magnum opus Geetagovindam is one of the most widely read and most widely talked about Indian works. The melody and the magic of its poetic rhythm has captured the imagination of people not only in India but in the far off places like USA, France, London, Australia and Canada. AJIT presents the King of Gitagovindam, a tribute to the great poet and his immortal work.

Hariye Jaaye Manush

Palash fails to kill the man. At the moment of coaxing the button of the remote control connected to explosives, he notices two young children sitting next to his target. He comes back to his hide-out. The excuse cannot satisfy others in the group. A debate starts and questions emerge what is right? What is JUST? Sensitive, soft-hearted Plash does not want to kill the children. The same Palash cannot express his love for Shirin. Suhas, one of his colleagues, wants to prove him a betrayer and disloyal. On the other hand, Shirin understands him and tries to protect Palash with all her love and gentleness. She loves him. She wants him as her own. She wants Palash to make love to her. Does it happen? The story goes on.

Saitole

It is clearly determined in our culture that a vast collection of folkdance, folk-art or folk-culture is spread over Bengal in such a scattered way that the common people couldn’t reach them. Only the interested persons know about these treasures. Undoubtedly, Saitol— a unique form of folkdance of Bengal — is basically a special folk-culture of Rajvanshi community of the North Bengal, is one of them. It is very unfortunate that the very special style of dance is gradually going to be extinct day by day. The basic concept of the play, however, has been developed to make aware of fear of the extinction of Saitol folk-culture to those who are engaged in rejuvenating the folk-cultures of Bengal and to make known of the very special form of dance to the common people of our time.

A well-known documentary film-maker Akash Mullick, with some of the members of his shooting unit, went to give a visit to the North Bengal. Here, he got introduced with Saitol folk-culture as well as Phoolmati Burman, the uncrowned queen of Saitol. At once, Akash decided to make a documentary on the subject but stumbled on the matter as Phoolmati did not agree to give him permission to make the film. The plot of the play is encircled with Phoolmati’s only son Madal and the members of the shooting unit which finally reaches to a critical end. In the play, it has tried to focus on the perambulating Culture’ lied in the urban life along with the conflicts rooted in human minds.

Protarok

Just after the 2nd world war was over, Han Van Meegeren, a renowned art dealer and connoisseur was arrested at Amsterdam, Holland from his palatial residence at Keizergratcht, by the Police on behalf of Allied Art Commission. The police interrogated him uninterruptedly only to know that who had sold the famous painting of Vermeer, namely ‘Adultress’, to the notorious Nazi officer Goering, in whose possession the masterpiece was discovered.

Han Van Meegeren wanted to be recognized painter from his early boyhood and was vehemently opposed by his schoolteacher father.

He continued his painting hiding from his father and was highly encouraged by his mother. Later, he married his girlfriend leaving home forever and continued struggle for years. He gave his first exhibition in 1916, which was a great flop turning him a bankrupt. He was divorced with his wife after 11 years of married life and married Johana at the age of forty. His first had settled herself at Dutch East Indies along with the children. He himself left Holland and settled at Southern France. Only then the wheel of fortune ran in his favour, he turned to be a millionaire. The Dutch Police continued with their interrogations which only concluded into an astounding riddle, finally they were assured that it was never Meegeren who had sold the Vermeer masterpiece to the Nazi General- but Meegeren surprisingly confessed that the painting was a fake. It was never drawn by the ancient master and it was only he who had drawn that. First the police felt that he had gone out of senses. But when, in the police custody he produced another Vermeer in only two months, the critics and connoisseur could not believe in their eyes. The forgery was such meticulous that could dupe the whole world for years and many university papers were written on them. In consequence, Meegeren was arrested again in the charge of the greatest art forgery in the world and died soon broken heart.

Now, the question is that, was Meegeren a mere charlatan? Perhaps not. We have to consider the fact that he could have evaded his destruction by suppressing the truth. But he did not do so. Perhaps the reason behind this was that, as a creator he always craved for recognition. In his youth, he was often insulted as a failure and the mental agony he had passed through compelled him to draw the masterpiece, though fake, to dupe the critics and connoisseurs who rejected him with abhor. His trick brought him money, honour – but as an artist he was mad for recognition. In his boyhood he had to hide his creations in fear of his father’s wrath. In youth he again had to draw in hide out at southern France. He was perhaps tired with this hide and seek game throughout his life, and that eventually brought his disaster. But he was never a charlatan – as a real creative one he rather resurrected Vermeer – never as a fault finding critic or connoisseur – but as a sympathetic man of Arts. But the ways of this world are far from appreciating such romantic flight. Can’t we down our caps, at least for once for him, who was punished in this world, but must have been rewarded in Paradise.

Biley

A full-length play based on the life of Swami Vivekananda has, till now, remained quite beyond imagination. And yet it’s only natural that a play should be conceived on the life and struggles of such a warrior monk as him. Just like there have been plays on the likes of Socrates and Galileo. Such Sai

With this ideal in mind Lokhrishti is producing the play Bilay. The primary characters are the boy Naren or Bilay, and the young man Narendranath or Swami Vivekananda.

Through an amazing conversation between these two characters we are taken sometimes to the Parliament of Religions at America, sometimes to the childhood days of Naren or sometimes to Dakshineswar at the feet of Sri Ramakrishna. In humanity itself, you find God is a concept that we get in many western philosophies as well. Even in Karl Marx’s ideologies we find this concern for the downtrodden; the farmers and the labourers. Swamiji said that these very people who lie today at the lowermost rung of society, will one day arise. He also spoke of the meaningless rituals of the Brahmins and the inevitable rise of the shudras. “The poorest of the poor Indian is my brother” was Swamiji’s chariot call to the nation. Taking such gems from Swamiji’s extraordinary life, we present to you a play that attempts to uphold the greatest strengths of eastern philosophies. And also show Swami Vivekandanda’s life as a journey of a human being with a phenomenal vision. The play ends with the last words spoken between the two characters, when Narendranath embraces the eternal order through his final Yogonindra.

Karkat Krantir Deshe

The play which sees the war of succession between Darashikoh and Aurangzeb is not merely about the fact that who should rule the empire but what should be the future of India. Aurangzeb had blamed the civil war on Shahjahan’s partiality towards Dara and neglect for his other sons. Darashikoh was a man of dignified manners, compassionate and liberal, while Aurangzeb was cold blooded, ruthless and a self-righteous hypocrite. While Dara cultivated culture Aurangzeb sharpened his sword. India was at a cross road in the mid 17thcentury; it had the potential of moving forward with Darashikoh or of turning back to medievalism with Aurangzeb.

But India’s destiny was with Aurangzeb and Darashikoh was killed. Other than the passage of time nothing really has changed. Political power still dictates the mass, the intellectuals, and the media. Through the ages the oppressed have always been tortured but the truth is only we have the right to write our own destiny.

Buddhijibi

Buddhijibi is a distinct political satire and also the very first production of Iccheymoto. This play is based on the current situation of our state, where we are searching for a safe bunker to keep our family safe, a safe ideology to keep our morality alive. We have so many questions but they are afraid to come out of our lips. This is a high time to understand and revise our fundamental rights and civil liberties. Tublu, an autistic child is a lead character of this drama. He stepped in to his adulthood but mentally he is an immature kid. He has no idea about the social and political complications outside the door. He has courage to ask questions to his father. Those simple set of questions raise a number of visions to the society.

One day, in some political chaos, Tublu’s father was mistargeted and Tublu had to pay for his innocence. That day a number of Buddhijibi came in candle handed procession, but question was, did they have any answers?