Art within art
Kamaluddin Kabir's ongoing solo photography exhibition, titled Light and Discourse features photographs of our theatre -- a tradition second to none that has thrived after the Liberation War.
The exhibition is being held at the Bengal Shilpalaya and was inaugurated on July 3. Noted artiste Mustafa Monwar inaugurated the event; Wolfgang Vollaman, UNESCO representative in Bangladesh was present as the special guest.
For all latest news, follow The Daily Star's Google News channel. Professor S Manzoorul Islam writes, "A first look at Kabir's photographs convinces us of his power and passion, but also of his skill and his perceptive eye. Unlike most theatre photographs one comes across in the media, Kabir's pictures don't highlight the face of a performer. He rather focuses on the totality of presentation. He likes to take in the whole ambience of the stage and capture the drama, the dynamism and the depth of a particular moment.
"He aims at a particular composition that would reveal, even if metonymically, the gist of the whole performance. Kabir doesn't use flashguns or artificial lighting, but makes do with whatever light is available. Yet, one notices a strong contrast between light and shade that defines the core aspects of the performance in progress."
Kabir, a theatre activist, drama teacher, set designer and director of repute has been photographing stage performances, both in the city and in villages for over ten years. The photographs not only highlight urban theatre but also folk theatre performances, such as Palagaan, Satya Pirer Gaan, Manshamangal, alkap and more.
About his work, Kabir says, "At the end of any theatrical production, we are left only with memories of the stage. To get an overall impression of the production, documentation is a must. Theatre photographs reflect whether compositions were complete or not. Through photographs we can get a complete idea of the discourses delivered though movements on the stage. A photograph keeps the production alive even after years of its staging. Theatre photography should be encouraged and considered essential in the total theatrical culture."
More effective than words is one look at any of the photographs at the exhibition. Every image is bustling with life, energy and a brilliant display of light and shadows. All have their own stories to tell.
One look at the still from the popular production by Theatre, Meraaj Fakirer Maa (directed by Abdullah Al Mamun) and one gets the idea that the satire brings to light the game of manipulation in the name of religion.
A still from Behular Bhashan (directed by Syed Jamil Ahmed), a production of Theatre and Music Department, Dhaka University captures the noticeable indigenous art trend with the actors on aashon (a raised square space at the centre; surrounded by the audience on all four sides).
An image of Kathaa '71 (directed by Debashish Ghosh), a Dhaka Padatik production, captures a stage with overpowering red lights creating a slaughterhouse-like image of torture and carnage during the Liberation War.
Kamalaranir Sagardighee, a pala performed by Islamuddin Palakaar highlights our rural heritage. Stills of Binodini (directed by Nasiruddin Yousuff), a Dhaka Theatre production, frame glimpses of Shimul Yousuff in her best emotive self as 'Mancho Kusum' Binodini Dasi.
But Kabir does not only focus on the stage. Some of his images highlight the audience. In his photographs the audience is not just onlookers; they are active elements in the total scenario of a theatre production.
The collection of photographs -- colourful, dark, enigmatic and poignant -- make for an outstanding exhibition with multifaceted purposes. The exhibition will continue till July 12.