Prachyo Theatre Festival 2017

Plays in Prachyo Theatre Festival 2017

Neelima

The play “NEELIMA” basically consists of three main characters the professor, the student and the maid. In the beginning, when the curtain rises, we sce that a student has arrived to the professor’s place. She is quiet ambitious and wants to do research works in several fields. The choice of her fields makes us perplexed. Anyway, as the story unfolds, we see that, though the student wants to do research work in mathematical field but she is desperately lacking in some very initial and fundamental concepts of mathematics, like addition or subtractions.

The professor tried to fix this by using several techniques but failed to make her understand convincingly. In the next half, we experience that, the professor decides to teach her literature as she fails to respond to his teaching on mathematics. In this part we see that, the motive of the professor is actually not to teach the student, rather to show how much depth and knowledge he has about literature. Eventually the student gets fed up and starts feeling sick and suddenly feels pain in her teeth. But the professor won’t listen about her pain and started to get violent as time passes on. In climax, we see that, the professor went completely outrageous and eventually he killed the student. The play comes to an end with the possibility to repeat the same thing again.

Putuler Deshe

The land of magic. Here human beings are mere puppets. An unseen Magician is the ruler of their destiny. People behave according to the wish of the Magician. He is unseen, so he is feared most.

Here in this land once arrives Laal and Neel in their dreams. And as they tug the illusory wheel of the Magician, the Puppet-people wakeup. But they are panic stricken as they fear that the Magician will now come out with his fearful appearance to vanquish them.

But Laal and Neel are fearless. They instigate the Puppets to tear off the magical thread of the Magician.

The grotesque looking Magician emerges. He wants to overpower Laal and Neel with his magical power. But the two boys are then transported in the world of fantasy in the form of Laalkamal and Neelkamal. Now they have the magical sword in their hands with which they slay the Magician and his occult magic too. The puppets then become complete human beings.

Duti Golpo & Mohabbat Ki Paydaish

Two plays focusing on various shades of relationship and realisation. The first play ‘Duti Galpo’ is a combination of two stories. First story tells how the love of a young couple culminates into an mature relationship, at their old ages, at the same coffee shop where they were departed from each other, long years ago.

In the second story we see a blind man who spends time in a coffee shop alone. On a particular day a girl comes and shares his table. They get introduced and talk to each other. Finally the girl leaves paying for both of them.

The man comes to know that the girl was also blind only after she has left. The second play ‘Mohabbat Ki Paidayish t deals with the ups and downs of the relationship of another couple. In the story the boy is overwhelmed with joy when his marriage is arranged by his family with one of his old friends, whom he has a weakness for a long days, but the girls asks for his help to cancel this marriage as she had never considered him to be her husband. The boy struggles with himself and tries to spoil his image in front of others to help the girl. It is the desperate effort of the boy that makes her mind changed.

Mrityu Ishwaar Jounota

“Mrityu Ishwar Jounota – is a Post-Modern Theatrical Treatment of the Middle Class Bengali Life.”

At the Nucleus of the apparent continuance of life, right from its rise till to its fall there lie numerous discoveries that enrich our intellect and philosophical reality and also award a wide curricular of experiences of life.

The game of hide and seek played between the exterior of social life and dense inaccessible part of self- sensitivity holds the inevitable reality called truth and in the process of hiding and escaping truth we keep on building the fragile image of falsehood and as we convey our life amidst falsehood we close the door of truth in one hand in the other construct, using word after word, the tower of relationship and sociality.

The present play demolishes this tower and invades into the primitive ground reality of life which is nothing but my reflection of Artistic entity.

Anusachana

Repentance, the story revolves around greed or power and heartless inhuman conspiracy to attain it. The characters, Gautam Buddha, Debdutta, Ajatsatru and Bimbisar, are all somehow victims or victimised to grab the supreme power to rule. So many battles are fought, so many conspiracy are formed only to materialise the greed for absolute power. Our so called religious field is also affected by the supreme will to achieve supreme power to rule and dictate. In spite of being cousin of Buddha, Debdutta wanted to kill Buddha for religious power over Buddhist monk.

But at the end of his life, Debdutta wanted to repent his guilt in front of Buddha, realising that neglecting humanity any power may it political, social or religious, do not have strength in the truer sense of the term.

Mudra-Rakshasa

The craftiness of Chankya has demolished the nanda Dynasty. Now Chandragupta is in the throne as the sovereign ruler of Mouryas. Still some people loyal to the Nandas are active in restoring Malayketu, the last inheritor of the Nandas in power. Rakshasa, being the most formidable antagonist advances in acquiring the consensus of some agitated and even some foreign rulers towage war against chandraguapta.

But the prospect of the coup becomes futile to the brilliance of Chanakya as he eventually succeeds in sowing the seed of doubt and treachery in the mind of Malayketu against Rakshasa. And before long, trust turns into disrust, loyalty into enmity. Thus the last hope of a desired change withers away. Once again Chanakya, the king-maker and the architect of a bloodless battle emerges as the saviour of the Mourya dynasty Malyketu is captive, Rakshasa is dismayed. But in the prudence of Chankay, Rakshasa the defeated enemy egresses as a man of supreme valour with matchless prowess and loyalty. Chankya now realises that the greatness of humanity lies not in mere guile of intelligence but in the milk of human kindness. So, with this understanding he bestows all his stately powers on Rakshasa and goes in quest of a new knowledge in the revelation of a new truth.

Sakharam

Sakharam Binder is a lower middle class book binder. He is middle-.aged. He does not believe in marriage and detests the emotional bonds and obligations arising from it. All he recognizes are fulfilment of mutual needs. The man provides home, food and clothing. He expects from the woman fidelity, caring of the home, providing the food and satisfying the physical needs of the man. A contract where mutual rights and obligations are clear and there is no emotional or permanence. Either party can terminate it at will. On such termination the woman walks out of his house and has no further claims on him.

On this basis he brings desolate and homeless women and girls from time to time. He honestly fulfills his contractual obligations. When he wants another woman or finds any violation or breach of the contract, he throws out the woman he is living with for the time being with a railway ticket to any place she may like to go and with a couple of saris.

He brings Lakshmi, a woman past her prime, on the above basis. Lakshmi tries to behave like a wife and succeeds to some extent in making Sakharam respond to her as a husband, but suddenly Sakharam realizes his folly, throws her out and brings in another young woman, Champa.

Champa is young and attractive, but she cannot stand physical proximity of Sakharam unless she is drunk. Sakharam wants to throw her out but he finds himself unable to do so. He is deeply attracted to Champa. He becomes an animal and loses his pride in himself as a male. In the meantime, Lakshmi returns again. Sakharam refuses, but on Champa’s insistence, he keeps her in the house on the condition that she will live like a maid servant of Champa. Though Lakshmi agrees, yet gradually she starts spreading her tentacles slowly. She poisons Sakharam’s mind against Champa alleging that Champa has an affair with a younger neighbour.

In a fit of jealousy, self-pity and humiliation, Sakharam kills Champa in a fit of anger. Lakshmi tackles the situation and helps Sakharam in hiding the murder. In the process she gains complete domination over Sakharam. The woman finally captures and captivates her male.