Two plays performed by the theatre group Aakriti for its Utshob resonated well with the audience.
Dilip Guha ★ New Delhi : Drama Society Aakriti, affectionately known as Aakriti, is a distinguished Bengali Theatre Group based in New Delhi. Performing over the past 23 years, it has built a formidable reputation in the Bengali theatre circuit, having staged thirty-six plays and won Sixty-four awards in its credits. The Bengali theatre group established in 2002, was founded with high hopes and ambitions. The group is dedicated to producing meaningful plays that have social relevance. It aims to provide healthy entertainment for theatre enthusiasts while tackling important societal issues.
During the recent “Aakriti Utshob,” the group performed two Bengali plays, “Kaalshuddhi” and “Khelna Bari,” at the B.C. Pal Auditorium in C.R. Park, New Delhi.
The first play, “Kaalshuddhi,” is a one-act piece written by Sudipta Bhawmik and directed by Arunava Sengupta. It follows the protagonists’ journey, capturing intense human emotions such as revenge and compassion.
The second play, “Khelna Bari,” is also a one-act Bengali play, inspired by Henrik Ibsen, written by Shankar Basuthakur, and designed and directed by Souvik Sen Gupta. This play, on the other hand, is a comedy that highlights the hypocrisy of people.
The story of the play Kaalshuddhi revolves around Subimal, a former Naxalite revolutionary who abandoned his past to lead a peaceful life in America. However, his past mistakes continue to haunt him, particularly the confession that led to his best friend and brother-in-law Bhaskar’s death in a police encounter. The diary reveals the past secrets of life when a long-lost diary falls into the hands of his son Somu. However, his past always used to haunt him and he tried his best to conceal them from his wife and son. It was only because of the confession of Subimal to the police, that Bhaskar, his best friend and brother-in-law got killed by the police in an encounter. Subimal could never get out of this act and searched all his life for redemption and pardon. Lost diaries again brought out the past in broad daylight and Bhaskar – the dead man walking – forced Subimal to bring out his inner self, and give a new birth like the phoenix.
The play effectively explores the themes of guilt and redemption through Subimal’s journey, which is driven by his quest for forgiveness for his past mistakes. He struggles to reconcile his past and present selves, leading to an identity crisis. The story highlights the far-reaching consequences of Subimal’s actions, impacting not only himself but also those around him.
In terms of performance, the role of the protagonist, Subimal, is masterfully portrayed by renowned theatre artist Palash Das. Through his nuanced performance, Das effectively captures the intricate layers of Subimal’s character, who is caught in the conflict between his past and present. This inner turmoil is not just a struggle, but a profound journey of self-discovery and redemption, making Subimal’s story both compelling and relatable.
The character of Bhaskar, played by the director himself, Arunava Sengupta, is portrayed as a haunting embodiment of a “dead man walking.” Sengupta’s performance effectively brings Bhaskar to life as a symbol of Subimal’s guilt and conscience. Bhaskar’s spectral presence serves as a constant reminder, forcing Subimal to confront his troubled past and ultimately seek redemption.
The other character roles, notably Chandrima played by Kaushiki Deb, and Somu portrayed by Atri Mallick, were well-executed and provided the necessary support for the play. It embodied the depth of the genre in their performance.
The background score, composed by John Roy, and the set design by Suddho Banerjee, were quite simple yet effective. However, the lighting sometimes failed to capture Subimal’s emotional depth, which could have been more impactful. The music by Abhiranjan Mukherjee Biswas also provided strong support in driving the play forward and it was in harmony with the storylines. Additionally, the makeup by Dilip Chakraborty was well-executed, adding to the overall effect of the performance.
The Narrative Structure of the story employs a non-linear structure, jumping between Subimal’s past and present. The use of flashbacks and the reappearance of Bhaskar’s ghost adds a sense of tension and urgency to the narrative. The lost diaries represent Subimal’s suppressed memories and emotions. Their reappearance brings his past back to the forefront. The phoenix symbolizes Subimal’s transformation and rebirth, as he emerges from the ashes of his past mistakes.
Psychological Insights:
The story offers a glimpse into the human psyche, exploring the effects of guilt, shame, and regret on an individual’s mental health. Subimal’s journey serves as a reminder that confronting one’s past is essential for personal growth and redemption. In the end, the performances by the artists of Aakriti truly embodied the depth of the genre. They captured its essence with remarkable skill and emotional resonance, captivating the audience.
The second play of the evening “Khelna Bari” was a captivating one-act Bengali play inspired by the works of Henrik Ibsen. This comedy masterfully highlights the hypocrisy inherent in societal norms and human behavior. Through witty dialogues and engaging characters, the play reveals the absurdities and contradictions that people often present in their quest to maintain appearances. The narrative not only entertains but also provokes thought, making it a memorable and impactful theatrical experience.
