Nagarik presents Tagore's Trilogy

Aupi Karim and Gazi Rakayet in Biday Abhishap

Is this really a trilogy? Ataur Rahman the director of the play said, "As the three plays have no continuous succession like other trilogies, in that sense it is not a trilogy. But all the lyrical-plays deal with same issue--the fall of morality in human beings. And Tagore has his own interpretation during the adaptation."

Nagorik's Trilogy started with Karnakunti Shangbad, in which Rajib De performed as Karna and Farhana Mithu played in the role of Kunti, mother of Karna. During the crisis when the Pandavas and Kauravs are face to face, the formers' mother Kunti comes to Karna, whom she had left to secure her reputation. During Karna's evening prayer, Kunti comes and tries to bring about a compromise between the brothers. Then a conflict arises between the mother and son. What is more important emotion or principle? Karna continues his heroism and rejects his mother's request. Rajib knows the tricks of performing in the lyrical-play written in verse form. His bold and spontaneous performance is perfect to play the role of a legendary character. On the other hand Farhana Mithu failed to maintain the high standards demanded for the role of Kunti.

To create the ambience of the first part of the trilogy, set designer Shaiful Islam has used replicated war tools like chariot, buckler, harpoon, arrow and others. Stagecraft settings of Karnakunti Shangbad by designer Shaiful departs from his own style. Here, he doesn't use any painted vertical element, but in the following two parts of the Trilogy: Biday Abhishap and Gandharir Abedan he returns to his own style and uses painted vertical stagecraft.

In the second part of the Trilogy Biday Abhishap two popular TV stars, Aupi Karim and Gazi Rakayet play the roles of Debjani and Kach. Director Ataur Rahman could not create the necessary dramatic conflict for a situation when a woman is deceived by her beloved. When Kach refuses the love of Debjani, Aupi Karim as Debjani failed to express emotion. However, in the romantic scenes she performed quite well. On the other hand Gazi Rakayet needs improve his skills in a lyrical drama.

Gandharir Abedon, the final and biggest part of the trilogy, introduces the conflict between truth and relationships. In this part, central character Gandhari, the Kaurava's mother, raises her voice against the injustice of her sons.

This part of the Trilogy is more interesting than the others. If all the performers of this part could give their best possible output, this part would have become a classic.

Light designer Nasirul Haque Khokon has tried to catch the mood and tempo of the play by using symbolic colour effect on the cyclorama.

Khaled Khan's music compositions were enjoyable.