Recently a Delhi-based noted Bengali theatre group “Aamra Kajon” organised a two-day Bengali Theatre Meet named “UTTAR-PASHCHIM BANGLA NATYA MILAN 2024” in association with Rupangan Foundation Mumbai at Capital’s Muktadhara Auditorium.
On the occasion two plays “Aamaar Me-Bela” and “Hey Tritiya Pandav” were presented by the Rupangan Foundation and one play “Korak (The Bud)” was presented by Aamra Kajon.
The play Korak (The Bud) was written by Nandita Nath and directed by Kabir Sen. The story is based on Rudali’s life in a community in Rajasthan. They are considered inauspicious and occupy a poignant place. Rudali, which translates to ‘rain,’ is a term used for women who are professional mourners, a tradition steeped in the socio-economic fabric of certain communities in Rajasthan. These women, often from the lower strata of society, are called upon to mourn at the funerals of upper-caste individuals, expressing grief through loud wails and sobs wearing the color black which is the symbol of ‘Yama’, the God of death.
Understanding the lives of the Rudalis offers a window into the less-discussed aspects of Indian society, where tradition and modernity often clash. It raises questions about the future of such practices in a rapidly changing social landscape and the fate of those who rely on these traditions for their survival.
The story of Korak conveys a powerful meaning, embodying strength and swiftness. It symbolizes that the sprouts on their heads will develop a leaf, bud, or flower when Pikmin are fed nectar or planted in the soil.
The story explores the lives of rural Indian women, Maasa, Sumanti’s mother who is a Rudali by profession, is hired to mourn the deaths of upper-caste men. The play delves into themes of grief, oppression, and resistance, raising important questions about social hierarchy and gender roles. She has two daughters and one son. The male members of the family are the brokers to get Rudali to work for the family. Maasa did not want her daughters to do the same profession, so she allowed her elder daughter Sumanti to pursue an education despite opposition from Sumanti’s uncle and brother. Sumanti fell in love with Bhowan, who promised to support her dreams. When they eloped, Sumanti’s brother and uncle murdered Bhowan and abducted her. Despite this, Sumanti vowed to prevent her younger sister from following the same path and fighting for a better future for both of them.
Ishita Das Adhikary delivers a standout performance as Sumanti’s mother, a Rudali who finds her voice and challenges the status quo.
Eshita Das and Snigdha Bandyopadhyay deliver strong supporting performances of Sumanti and her sister Kanka.
Other character roles are portrayed by Deeptesh Das as Kakasa, Samiran Chakraborty as Gurdas, Subhankar Dey as Bhuwan, Ananda Swaroop Bose as Kishore, and Kusat Bandyopadhyay as Lalan, all fulfilling their respective roles to the director’s expectations. Nandita Nath narrated the script well.
Kabir Sen’s direction masterfully weaves together the narrative, using stunning visuals and a haunting soundtrack to create a real-life experience that is both moving and thought-provoking. The background and props used give the feeling of a typical Rajasthani village, and the dialect used suitably matches the scenario.
Overall, the play deserves to be celebrated for its bold storytelling, strong performances, and feminist themes.
The Roopangan Foundation Mumbai staged a thought-provoking play that delves into the pressures of modern family ideals and parental expectations, shedding light on the stress experienced by children today. Titled ‘Aamaar Me-Bela,’ which translates to ‘My Childhood Days’ from a young girl’s perspective, this poignant Bengali play explores the internal struggles of a young girl torn between her family’s modern ideals. Authored by Bijoy Bhattacherjee and directed by the renowned director Shivaji Sengupta, the narrative centers on a young girl who beautifully depicts her affectionate bond with her idealistic drawing teacher, who also serves as her confidant, philosopher, and mentor, providing solace amidst her turmoil. Mauravi Kundu, a class VII student and active participant in Mumbai’s professional drama and cultural circles, adeptly assumes the lead role of TULI, the young girl, delivering a compelling performance that enhances the play’s allure with her dynamic interaction with fellow cast members.
In their respective roles, Mahua Roy as PIYALI, the mother, and Raju Das as TAPAS, the father, deliver consistent and nuanced performances. The supporting cast includes Shivaji Sengupta as ARKA, Subarna Das as the governess SANDHYA, Dipankar Bhattacharya as DR. BASU, and Tanusree Das as THAMMA, all of whom deliver outstanding portrayals.
The ambiance of the play is further enriched by the music composed by Sabyasachi Sengupta, operated by Sujit Haldar, and the atmospheric lighting designed by Rabisankar Kundu, together creating an enchanting stage environment.
The Roopangan Foundation’s second presentation was ‘Hey Tritiya Pandav,‘ a tale from the epic Mahabharata. The play, written by Dhananjoy Ghosal, is directed, with music composed and lighting by Shivaji Sengupta, and music operated by Sujit Haldar.
The play’s brief storyline unfolds as Arjun is slain by his son Babrubahan during a battle in Manipur. It revolves around intimate conversations among Draupadi, Subhadra, Chitrangada, Ulupi, and Apsara Urvashi as they reminisce about the noble character of the late warrior Arjun. The play delves into the emotional turmoil and the profound impact Arjun’s demise has on the lives of the women close to him. Through the lens of these characters, the audience is invited to explore themes of loss, memory, and the enduring legacy of a hero. The narrative is enriched by the performances of a talented cast, who bring depth to this exploration of grief and remembrance.
The cast of the play includes Arpita Panja as Draupadi, Subarna Das as Ulupi, Poulami Dam as Chitrangada, Chayanika Brahma as Subhadra, Ritika Das as Urvashi, and Raju Das as Arjun. With its blend of poignant dialogue and evocative music, the play promises to be a moving experience for theatre fans.
The Roopangan theatre group is a creative platform, engaged in the promotion and practice of performing arts, especially theatre, among the younger generation The group believes in focussing on three main objectives…Promote Bengali theatre on a multilingual platform through quality Drama, Encourage participation of youth in theatre, and Donate funds to different Old Age Homes.
