Dhaka Drama Festival 2004
Natyadhara's clarion call for peace
The rise of Imperialism, the absence of humanity and wisdom has turned our civilisation upside down. Philosophers and intellectuals have been effortlessly talking about an all out change but with little effect. Natydhara, a theatrical group, opines, that, if we emulate Atish Dipankar, an ancient educationist as our ideal and follow his noble work and philosophy, the overall situation might change for the better.
As part of the ongoing drama festival, Natyadhara staged Atish Dipankar Sharpoja on July 11 at the Experimental Theatre Stage.
Alok Basu's play Atish Dipankar Sharpoja does not maintain any time or space limit. To spread awareness amongst the people about the brutality of war and decline of humanity, Alok has dramatically presented the biography of 11th century Bangladeshi educationist Atish Dipankar. He was a follower of Buddhism and strived for peace his entire life. Time and again Alok has used a contemporary war like situation, now taking place in Iraq, Palestine and other places, where war has been imposed for materialistic benefit. As a consequence, there has been a degradation of humanity
For all latest news, follow The Daily Star's Google News channel. In the play, Alok depicts Atish in a role of initiating peace talks between two rival countries, when the Kanad King imposes a war against the Magad King only to invade his land.
Alok's script has a poetic quality. He has used verses from the Tripitak and Charja. With a view to highlight our history and heritage unnecessarily a number of incidents have been introduced in the play, resulting in a lack of dramatic quality. The role of Dipankar in stopping the war was vague.
Alok Basu has successfully handled Bangla Theatre form in the play. Like other rural art forms, he has presented his play through narration, songs, choreography and dialogues. He has successfully used the rural sports in his choreography. None of the performers had a well defined character on the stage. It is totally a teamwork.
Kamaluddin Kabir's simple but artistic set could create the atmosphere of the required dramatic situation. He has used a few decorated stools made of wood as his stagecraft. His light composition is also simple. But more symbolic effects could be used.
Litu Sakhwat's using of Kirtan and other typical rural music trend for the play entertained the audience.
The artistes performed well to an appreciative audience.
Nurul Haque: The man behind the mask
Nurul Haque a popular figure in the theatre arena, is a well-known makeup artiste for decades. Under his experienced hands a young man is transformed into an aged man and ordinary artistes metamorphose into kings.
A regular member of Aranyak Natya Dal, Nurul said, 'Everybody in our country comes to theatre to become an artiste. Nowadays some people are interested in directorial work or even backstage works. However, nobody likes to work as a makeup man with a theatrical group. I also came to the theatre with an aim to act, but was soon forced by other group members to become a makeup artiste because of the shortfall of a make-up man in the group Aranyak, '
'I really enjoy my work I sometimes feel like a creator who can transform actors into kings, queens or hermits. I have been working as a make-up man in Aranyak's productions since 1982.' Nurul added.
'Like other theatre activists I do not receive any payment for my service, I do it only from passion. My group members have great respect for me which is my only reward. Sometimes I even perform in plays.'
In future Nurul foresees being a make-up man in the electronic media. He wants more enthusiastic young people to follow in his foot steps.
Ershad Kamol