To Read Frontier, 7 September, 1974 [PDF, 1.88

Total Page:16

File Type:pdf, Size:1020Kb

To Read Frontier, 7 September, 1974 [PDF, 1.88 offend the Congress? The' anti-social' the left patties led by the CP(M The Play's The Thing elements who blocked the entrance to in Calcutta and ate said to have the theatre carried Chhatra Parishad and e'd not to "broaden' their Ide Attacks by Congress supporters <>n Youth Congress flags and manhandled movement (where is the movem theatre groups outside Calcutta have the PLT group did not make the slight- save their cadres from attacks by been frequent. though not publicised. est attempt to hide their political affi- fascist" forces. The July 20, police raid on a group call- liation. It is cne step forward, of coune, ed Silhoutte, which used to stage short It is time resolutions passed at such the CP(M) obsession that any' rn IS , and sharp open-air political plays ir\ protest meetings stopped urging the Chief turistic' action would lead to the 'd not· Curzon Park every Saturday, highlighted Minister or Governor or Prime Minister. being banned and t~e I rompts the threat to culture.. One young man or President to redress their gnevances would have to go a team died in the lathi-charge and stampede. and 'punish the guilty'. ground perforce. Now they have than seI About 33 people were arrested. The Chief Minister and . others are loped a touching concern for their of these Stage and )film artistes formed a birds of the same feather and are them- With such ipeople around, Mr main a July 20 Committee and several well" selves guilty of evil policeis. Why Dutt and Mr Mrinal Sen shouldn Obvio known actors and directors staged pro- make people believe that they are above too optimistic about any effective to be a test plays and recited poems in Curzon the pa~ty or government? It is with front. It would be better, perha Park on August 24. In between the their encouragement. indirect or direct. cultiv~te material succe~s, as the The soc Government brought a case against that the system operattes as it does to- does, than go in for the materialist the sen mies" ti Duswapner ,Nagar,i directed and pro- day. and it is a hell of a system. The pretation of history with all the petition-mongering. ,the angui~hed sur- sities it spells. duced by Mr Utpal Dutt. Mr Dutt was prise )at 'poliGe Iaction' a~e naive. to finding it difficult, it is said. to book posh put a charitqble interpretation on them. theatre houses in central and south Cal- A Red Herring The cynical might. however, think that. govern] cutta. So he decided to move north. some of the organisers of these meet- ried pe the home of Bengali theatre. and book- ings are keen to keep any confrontation Reports of searches by tax auth allowin ed the famous. ancient Star Theatre with the rulers on a non-antagonistic of big hauls of gold and jewellery either. for a show on August 26. All the 900 plane. It is this desire to be friends unaccounted money have become have c tickets were sold out in two hours. But with top men or women of the adminis- ring the past few days almost a f capital the Chhatra Parishad and the Youth tration that takes the sting out of their of the daily news bag like the prove But wl Congress went into loud action and did ministerial promises and stories of not allow Dutt and his troupe to per- opposition. in so It is true, as Mr Utpal Dutt pointed dais and corruption. The sudden bigger form. These two organisations of the out at the meeting, that resistance to burst of alertness shown by all still 1'0 Indian National Congress have now de-. the growing attacks on cultmie must guardians of law is certainly most cided to fight it out in Calcutta, not that tl come. BUt (t begs one obviousques anythiJ because they have dev~loped the be part of a general democratic move- What were they doing all not courage of convictions but because ment. But, alas. when one thinks of be years? Smuggling or minting bI they know 'tHat !the administra"; 'democratic movement'- in Wes't Bengal. of a 1 money is no new phenomenon. ButI tion, including the police. is behind one feels like taking to opium grown in how all this was allowed 'to pass right them. fJ'heir patrons would npt mind Turkey. the nose of the authorities and, wo such diversions from the internal splits In Cooch Behar ,there was big even with the connivance of the pol' Po festering the two organisations. trouble between the CRP and students. staff. The shady operators of such What's to be done? Stage and film Many government buildings went up have in the mean time developedall Th, people met at the Academy of Fine Arts in flames. Troops were called out, a cur- expertise and the contacts that e nothiI and passed a resolution or two. The few was imposed. The situation was ex- contn one moved by Mr Utpal Dutt described plosive. In separate clashes between smooth functioning of their busin The Ministet of State for Finance, what the attack on the Star Theatre. assO- the Youth Congress and the CP (M) and ciated with the name of Girish Ghosh, at Mathabhanga. one CP (M) leader K. R. Ganesh, himself has conceded fuse as an attack on Bengali culture. .l-le was stabbed to death. and another, a the smugglers have now set up Last made, however. a rather curious state- former MLA. is in a critical condition. powerful political contacts and have West ment-that he was not prepared to be- The We~t Bengal Government sent two developed a system of tapping the lieve that the raiders were conscious Ministers, both of whom had been re- phones of customs officials to secure politica.l workers-because any conscious turned from '~och Behar. and they telligence about raids. etc. It is ra political worker would know that such were in the funeral procession of the difficult to believe that the autho' OUl an !\Ltack was in violation of what they killed teacher. Our young men. it did not know what exactly was hap Cf! professed to believe and practise under seems, are taken in by these tricks of ing. Bu~ if there were any honest the Constitution. Did Mr Dutt, in his the stage. and they quietened down. cial-a faSt disappearing breed, th accustomed subtle way, want not to Following the Cooch Behat jncidents, -in these departments, he naturally 2 to keep his enthusiasm on leash into the news department of a Calcutta walk on the some sensitive toes. daily to get information about a staff re- Talking About a pretetence of an effort is being porter who wrote a story of how a young to undo all this, And Mr Ganesh girl was kidnapped from Ballygunje sta- Population-I f is thinking of leading a band of tion and raped by some local goondas who rahis before smugglers' residences had "links with the youth front of the ASOK MITRA e auspicious birthday of Mahatma Congress", They became furious when i on October 2. His sense of con- the newsmen present there refused to dis- HOW did they come to have the is certainly appreciable, if only it close the name of the reporter concerned. families they have? L has only ot border on the ridiculous. What Mr Mukherjee and his followers were one child, a son, M a daughter and C Is an all-powerful Minister to head reported to have threatened them of the two. both sons. of peaceful volunteers rather consequences if reports of a similar nature It's curious, said M. you who people send officials into the residences were published in the future. 'the pages (If your paper with at least se people and arrest 'them will re- The, other day a cor- one hilarious child a day, sometimes as. a classic enigma. respondent of the Times of India was ar- many as four, should have imposed such viouslythe searches etc are meant rested in Uttar Pradesh. He had en- rectitude upon yourself in real life. a kind of ploy to dupe the public. raged the police and bureaucrats with What on earth was the matter, L? socialistgovernment is so careful of his reports of atrocities against the Hari- My mother. who died the other day sensibilities of its ••capitalist ene- jans in U.P. particularly in Banda dis- at 90, bore eight children to my father, ••that it has virtually forfeited any trict. The police action has been re- L tumbled out. She brought them up city to do anything against them. peated. This time the editor and printer all, and after them their children. To thepublic just cannot be let into this of a local fortnightly were hounded out' the day of her death she was never . fact.A show has to be put uplthat the of Banda because they had printed two alone, always cared for, looking after emment, while penalising the sal'a- special issues criticising police atrocities in her turn all her grandchildren, either people and the working class is not in the district, One of the two brothers visiting them in their homes or asking 'ng the bigger sharks to go free of the editor was locked up in jail on a them over. She died happy, surround- er. If the reports of such searches murder charge, while the other was char- ed by all of us, never a cloud on.
Recommended publications
  • ANNIVERSARY SPECIAL Millenniumpost.In
    ANNIVERSARY SPECIAL millenniumpost.in pages millenniumpost NO HALF TRUTHS th28 NEW DELHI & KOLKATA | MAY 2018 Contents “Dharma and Dhamma have come home to the sacred soil of 63 Simplifying Doing Trade this ancient land of faith, wisdom and enlightenment” Narendra Modi's Compelling Narrative 5 Honourable President Ram Nath Kovind gave this inaugural address at the International Conference on Delineating Development: 6 The Bengal Model State and Social Order in Dharma-Dhamma Traditions, on January 11, 2018, at Nalanda University, highlighting India’s historical commitment to ethical development, intellectual enrichment & self-reformation 8 Media: Varying Contours How Central Banks Fail am happy to be here for 10 the inauguration of the International Conference Unmistakable Areas of on State and Social Order 12 Hope & Despair in IDharma-Dhamma Traditions being organised by the Nalanda University in partnership with the Vietnam The Universal Religion Buddhist University, India Foundation, 14 of Swami Vivekananda and the Ministry of External Affairs, Government of India. In particular, Ethical Healthcare: A I must welcome the international scholars and delegates, from 11 16 Collective Responsibility countries, who have arrived here for this conference. Idea of India I understand this is the fourth 17 International Dharma-Dhamma Conference but the first to be hosted An Indian Summer by Nalanda University and in the state 18 for Indian Art of Bihar. In a sense, the twin traditions of Dharma and Dhamma have come home. They have come home to the PMUY: Enlightening sacred soil of this ancient land of faith, 21 Rural Lives wisdom and enlightenment – this land of Lord Buddha.
    [Show full text]
  • Between Violence and Democracy: Bengali Theatre 1965–75
    BETWEEN VIOLENCE AND DEMOCRACY / Sudeshna Banerjee / 1 BETWEEN VIOLENCE AND DEMOCRACY: BENGALI THEATRE 1965–75 SUDESHNA BANERJEE 1 The roots of representation of violence in Bengali theatre can be traced back to the tortuous strands of socio-political events that took place during the 1940s, virtually the last phase of British rule in India. While negotiations between the British, the Congress and the Muslim League were pushing the country towards a painful freedom, accompanied by widespread communal violence and an equally tragic Partition, with Bengal and Punjab bearing, perhaps, the worst brunt of it all; the INA release movement, the RIN Mutiny in 1945-46, numerous strikes, and armed peasant uprisings—Tebhaga in Bengal, Punnapra-Vayalar in Travancore and Telengana revolt in Hyderabad—had underscored the potency of popular movements. The Left-oriented, educated middle class including a large body of students, poets, writers, painters, playwrights and actors in Bengal became actively involved in popular movements, upholding the cause of and fighting for the marginalized and the downtrodden. The strong Left consciousness, though hardly reflected in electoral politics, emerged as a weapon to counter State violence and repression unleashed against the Left. A glance at a chronology of events from October 1947 to 1950 reflects a series of violent repressive measures including indiscriminate firing (even within the prisons) that Left movements faced all over the state. The history of post–1964 West Bengal is ridden by contradictions in the manifestation of the Left in representative politics. The complications and contradictions that came to dominate politics in West Bengal through the 1960s and ’70s came to a restive lull with the Left Front coming to power in 1977.
    [Show full text]
  • Hindi Theater Is Not Seen in Any Other Theatre
    NATYA SHODH SANSTHAN DISCUSSION ON HINDI THEATRE FROM THE COLLECTIONS OF NATYA SHODH SANSTHAN AUDIO LIBRARY THE PRESENT SCENARIO OF HINDI THEATRE IN CALCUTTA ON th 15 May 1983 AT NATYA SHODH SANSTHAN PARTICIPANTS PRATIBHA AGRAWAL, SAMIK BANDYOPADHYAY, SHIV KUMAR JOSHI, SHYAMANAND JALAN, MANAMOHON THAKORE SHEO KUMAR JHUNJHUNWALA, SWRAN CHOWDHURY, TAPAS SEN, BIMAL LATH, GAYANWATI LATH, SURESH DUTT, PRAMOD SHROFF NATYA SHODH SANSTHAN EE 8, SECTOR 2, SALT LAKE, KOLKATA 91 MAIL : [email protected] Phone (033)23217667 1 NATYA SHODH SANSTHAN Pratibha Agrawal We are recording the discussion on “The present scenario of the Hindi Theatre in Calcutta”. The participants include – Kishen Kumar, Shymanand Jalan, Shiv Kumar Joshi, Shiv Kumar Jhunjhunwala, Manamohan Thakore1, Samik Banerjee, Dharani Ghosh, Usha Ganguly2 and Bimal Lath. We welcome all of you on behalf of Natya Shodh Sansthan. For quite some time we, the actors, directors, critics and the members of the audience have been appreciating and at the same time complaining about the plays that are being staged in Calcutta in the languages that are being practiced in Calcutta, be it in Hindi, English, Bangla or any other language. We felt that if we, the practitioners should sit down and talk about the various issues that are bothering us, we may be able to solve some of the problems and several issues may be resolved. Often it so happens that the artists take one side and the critics-audience occupies the other. There is a clear division – one group which creates and the other who criticizes. Many a time this proves to be useful and necessary as well.
    [Show full text]
  • List of Empanelled Artist
    INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ
    [Show full text]
  • A Tribute to Chetan Datar,Bharangam 13 – All the Plays of B
    Snake, Love and Sexuality Ravindra Tripathi’s There are a lot of stories in Indian mythology and folklores where you find the snake or the serpent as sexual motif. Some modern plays are also based upon it. For example Girish Karnad’s play Nagmandala. The snake as sexual motif is not limited only to India. In 13th bharat rang mahotsav, the Japanese play Ugetsu Monogatari (directed by Madoka okada) also presents the snake as a charmer and lover of human being. It is story of 10th century Japan. There is a young man, named Toyoo, son of a fisherman. He lives near seashore. A beautiful woman named Manago comes to his home in a rainy night. Toyoo is attracted towards her. He also lends his umbrella and promises to meet her again in near future. After some days he goes to her house on the pretext of going back his umbrella. During that he gets intimate with her. Manago gives him a beautiful sword as a token of their relationship. But after sometime it comes out that the sword was stolen from a shrine. Toyoo is caught by the officials on the charge of theft. He is taken to the house of Manago and there it is discovered that actually Manago is not a woman but a serpent. She transforms herself as a woman to get Toyoo love. Now the question is what will happen of their relationship. Will Toyoo accept Manago, the serpent as his beloved or leave her? Ugetsu monogatari is a play about coexistence of natural and supernatural in human life.
    [Show full text]
  • Playbill-Tiner-Talowar.Pdf
    Table of Contents About Natyakrishti-TCAGW 2 Previous Performances 3 Tiner Talowar Management Team 4 Behind the Scene 5 Cast 6 Patrons & Donors 7 Notes from Well-wishers 8 Why Tiner Talowar today? 11 Chasing the Drama? 14 Language of Cinema and Literature 16 Tiner Talowar Prasange 25 Printed by Damodar Printing Kolkata Editor: Suchismita Chattopadhyay Cover and Layout: Kajal Chakraborty & Dilip K. Som Disclaimer: Natyakrishti apologizes for any inadvertent mistakes, omissions and misrepresentations in this publication. www.natyakrishti.org About Natyakrishti-TCAGW Natyakrishti-TCAGW is an amateur theater and cultural group based in the greater Washington D.C., USA. It is a non-profit 501 (c) (3) organization. In 1985, a group of enthusiastic, dedicated theater lovers in the greater Washington area, aspiring to initiate theatrical and cultural activities, formed an amateur drama group. A number of highly acclaimed dramas were staged by the group at the Durgapuja festivals organized by Sanskriti, Inc. of the Washington Metropolitan area. These dramas were also staged in various other cities of the USA. Some of the members concurrently participated in the theatrical and cultural events organized by other groups like Manab Kalyan Kendra, Sanskriti, Mayur, etc. They performed in major roles in the dance dramas Achalayatan and Moha Mudgar, organized by the Hon'ble Ambassador Mr. Siddhartha Shankar Ray, which were staged in Kennedy Center, Gandhi Center and the Indian Embassy in Washington D.C. With a view to developing histrionic talents, active association was initiated with renowned theater groups like Nandikar, Sayak, Calcutta High Court Advocates' Drama Association in India (Hon'ble Minister Ajit Panja's group).
    [Show full text]
  • Setting the Stage: a Materialist Semiotic Analysis Of
    SETTING THE STAGE: A MATERIALIST SEMIOTIC ANALYSIS OF CONTEMPORARY BENGALI GROUP THEATRE FROM KOLKATA, INDIA by ARNAB BANERJI (Under the Direction of Farley Richmond) ABSTRACT This dissertation studies select performance examples from various group theatre companies in Kolkata, India during a fieldwork conducted in Kolkata between August 2012 and July 2013 using the materialist semiotic performance analysis. Research into Bengali group theatre has overlooked the effect of the conditions of production and reception on meaning making in theatre. Extant research focuses on the history of the group theatre, individuals, groups, and the socially conscious and political nature of this theatre. The unique nature of this theatre culture (or any other theatre culture) can only be understood fully if the conditions within which such theatre is produced and received studied along with the performance event itself. This dissertation is an attempt to fill this lacuna in Bengali group theatre scholarship. Materialist semiotic performance analysis serves as the theoretical framework for this study. The materialist semiotic performance analysis is a theoretical tool that examines the theatre event by locating it within definite material conditions of production and reception like organization, funding, training, availability of spaces and the public discourse on theatre. The data presented in this dissertation was gathered in Kolkata using: auto-ethnography, participant observation, sample survey, and archival research. The conditions of production and reception are each examined and presented in isolation followed by case studies. The case studies bring the elements studied in the preceding section together to demonstrate how they function together in a performance event. The studies represent the vast array of theatre in Kolkata and allow the findings from the second part of the dissertation to be tested across a variety of conditions of production and reception.
    [Show full text]
  • 05 Work Plan and Methodology
    Work Plan and Methodology Chapter I: Introduction to Indian English Drama Chapter II: Portrayal of Political Power in Girish Karnad Chapter III: Portrayal of Political Power in Vijay Tendulkar Chapter IV: Portrayal of the Political Power in Habeeb Tanveer Chapter V: Portrayal of the Political Power in Utpal Dutt Chapter VI: Conclusion The first chapter- Introduction will take a survey of Indian drama written in Sanskrit, folk languages and regional languages. It will also take into account the slow growth in Indian English drama in pre-independence and post-independence times. The second chapter- Portrayal of Political Power in Girish Karnad’s plays will analyze the portrayal of political power as a force in the play affects functioning of all the systems. The third chapter- Portrayal of Political Power in the Plays of Vijay Tendulkar will record the visible and invisible influence of political power in the each every matter and also how it is self-destructive. The fourth chapter- Portrayal of the Political Power in the plays of Habeeb Tanveer will portray the invisible but rigid structure of the political power and what means political power uses to achieve its ends. The fifth chapter- Portrayal of Political Power in the Plays of Utpal Dutt works in the destructive way in society. The last chapter Conclusion will take into stock the conclusions drawn from the portrayal and analysis of this significant social institution in Indian English drama and will aim at prove their relevance to the present times. The research methodology employed herein will be exploratory, interpretative and analytical in nature.
    [Show full text]
  • A Complete Profile of Rangroop
    MMMAJOR PRODUCTIONS OF RANGRANG----ROOPROOP SINCE THE INCEPTION: Total Name Of The Year No. Of Drama By Directed By Production Shows 1969-70 Michhil 12 Goutam Mukherjee Goutam Mukherjee 1972-73 Akay Akay Sunya 9 Goutam Mukherjee Goutam Mukherjee 1979-80 Kanthaswar 151 Goutam Mukherjee Goutam Mukherjee Sanskrit play: Banabhatta; Adaptation : 1982-83 Kadambari 50 Goutam Mukherjee Dr. K.K. Chakraborty Story: Subodh Ghosh 1984-85 Andhkarer Rang 62 Script: Sima Mukherjee Goutam Mukherjee Story: O’Henry Do. Prahasan 62 Script: K.K. Chakraborty Goutam Mukherjee Story: O’Henry 1987-88 Clown 110 Script: K.K. Chakraborty Goutam Mukherjee 1988-89 Bikalpa 74 Sima Mukhopadhyay Goutam Mukherjee Dwijen Banerjee & 1991-92 Bhanga Boned 130 Sima Mukhopadhyay Saonli Mitra 1992-93 Tringsha Shatabdi 5 Badal Sarkar Kaliprosad Ghosh 1993-94 Boli 11 Tripti Mitra Sima Mukhopadhyay 1994-95 Je Jan Achhey 187 Sima Mukhopadhyay Sima Mukhopadhyay Majhkhane Sima Mukhopadhyay 1996-97 24 Abanindranath Tagore Aalor Phulki & K K Mukhopadhyay Panu Santi Sima Mukhopadhyay Krishna Kishore 1998-99 53 Cheyechhilo (Story: Ramanath Roy) Mukhopadhyay 1999- Aaborto 27 Sima Mukhopadhyay Sima Mukhopadhyay 2000 2000-01 Sunyapat 34 Sima Mukhopadhyay Sima Mukhopadhyay Drama: Olwen Wymark 2002-03 Khnuje Nao 37 Adaptation: Swatilekha Sengupta Rudraprasad Sengupta Je Jan Achhey 2003-04 Majhkhane 32 Sima Mukhopadhyay Sima Mukhopadhyay (Revive) 2004-05 Sesh Raksha 38 Rabindranath Tagore Sima Mukhopadhyay Sima Mukhopadhyay 2005-06 He Mor Debota 10 (Story: Deborshee Sima Mukhopadhyay Saroghee)
    [Show full text]
  • Concert | Pangaea | 16 June | 7Pm
    Bipannata The Play Bipannata is the story of the helplessness of Sulagna Dutta, a woman in her late 50s, a widow and a single parent. She represents the middle class, who wakes up to a daily routine expecting a more or less secured lifestyle. She is neither a political bigwig nor a celebrity, but one of those you wouldn’t even notice when passing by. She has raised her son Ujaan to be a responsible man and who is now a computer engineer. The only problem is that he has his own well defined opinions. He is sensitive and reacts like a normal human being to events happening around him…events of large scale state generated violence that permeate into our lives and induce a constant state of fear. Sulagna is worried for her son, who goes into bouts of depression and hides at home, refusing to go out and participate in a world he cannot question. She sets up an appointment with a renowned psychoanalyst Dr. Ahana Roy. What follows is a heartrending search into fear psychosis and the resulting helplessness. Are we all trying to hide in our cocoons? Are we afraid to question? How is an individual supposed to negotiate in these circumstances? Do we need help? And who can help? Director’s note Choice of Bipannata – a rationale: The play tries to address the feelings of fear and helplessness that we carry within us in these hard times. How is one supposed to react to the violence that one witnesses daily? To questions of state induced terrorism, rape, capital punishment…….? Is one expected merely to drink it in with his morning cup of coffee? Or can one exercise his basic right of speech and thought? Can one help himself? Is there someone who can help? Can he expect any help at all? The Director Sohini Sengupta is an upcoming director and a leading stage artist and trainer of Nandikar.
    [Show full text]
  • The Political Theater of Utpal Dutt
    Theater Arts Faculty Works Theater Arts 2012 Rehearsals for a Revolution: The Political Theater of Utpal Dutt. Arnab Banerji Loyola Marymount University Follow this and additional works at: https://digitalcommons.lmu.edu/thea_fac Part of the Theatre and Performance Studies Commons Recommended Citation Banerji, Arnab. “Rehearsals for a Revolution: The Political Theater of Utpal Dutt.” South Eastern Review of Asian Studies (2012). This Article is brought to you for free and open access by the Theater Arts at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Theater Arts Faculty Works by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. Southeast Review of Asian Studies Volume 34 (2012), pp. 222–30 Rehearsals for a Revolution: The Political Theater of Utpal Dutt ARNAB BANERJI University of Georgia During the mid-1960s, when communist politics were beginning to gain significant ground in Bengal, the playwright, actor, and director Utpal Dutt উৎপল দত্ত (1924–93) experimented with theatrical forms in the hope of creating a political theater and fomenting a proletarian social revolution. This essay examines his concept of the “revolutionary theater” and its underlying elements, which include traditional forms of theater like jatra and both Piscatorian and Brechtian techniques. Utpal Dutt উৎপল দত্ত (1924–93) is one of the best known and most respected figures in the history of modern Bengali theater. A committed leftist, Dutt wrote, directed, and acted in commercially successful and politically challenging plays during a career of nearly fifty years from the early 1940s until his death in 1993.
    [Show full text]
  • Actresses on Bengali Stage—Nati Binodini and Moyna: the Present Re-Imagines the Past
    Actresses on Bengali Stage—Nati Binodini and Moyna: the Present Re-imagines the Past Madhumita Roy and Debmalya Das. Visva Bharati, Santiniketan. India. Abstract The Bengal Renaissance ushered in the process of multifaceted modernization resulting in the major reshaping of the theatrical space both in terms of convention and praxis. Abandoning the convention of cross–dressing (where the earlier male actors were dressed as women to represent female characters), this new theatrical space began to accommodate the women actors for the representation of female characters. Parallel with the emergence of the “New Woman” in the upper middle class society of the nineteenth century, the women actors also constituted a segregated sphere of the emancipated women. Although “free” to encounter the public sphere, they were denied the degree of social acceptability/status that was otherwise available to the then upper middle class “New Women.” This paper tries to locate the experience of a female actor of nineteenth century: Binodini Dasi: as is rendered in her two short autobiographical writings and the re-imagination of that experience in the twentieth century play Tiner Taloar by Utpal Dutt. Dutt uses the historical material to explore the consolidation and redefinition of the feminine space in his contemporary theatre. [Keywords: theatre, actress, performance, prostitution, protest, commodification, liberty.] The Bengal Renaissance ushered in the process of multifaceted modernization resulting in the major reshaping of the theatrical space both in terms of convention and praxis. Abandoning the convention of cross–dressing (whereas the earlier male actors were dressed as women to represent female characters), this new theatrical space began to accommodate the women actors for the representation of female characters.
    [Show full text]