The symbiotic relationship between nature and mankind, the inevitable and mutual dependence among diverse elements
creates ecological balance in the habitats.
If the symbiotic relationship gets lopsided, every living being is sure to suffer in one way or another. The celebration of symbiosis and mutual dependence between elements was the theme of recently-formed theatre troupe Theatrex’s new production Dakkhina Sundori.
The play, which is prepared for a prestigious show at the TIN Forest Festival at Glasgow on July 24, staged its press show on Friday at NatMandal at Dhaka University. Dakkhina Sundori, meaning the southern beauty, is a ‘pantheistic narrative of beautiful Bangla’, focusing on the Sundarbans.
Shahman Moishan, the playwright, has explored a number of resources to get to his message. He has taken recourse to and imaginatively explored the folk-myths, orally-transmitted stories, belief-system of local inhabitants to create a mesmerizing circle which makes the forest appear with life of its own.
The major myth, used by Moishan, is the relationship between two mythical characters, Chandre and Bona, who in dramatic turns and twists, ramify to mean nature and animal, so on.
In six imaginary divisions, the playwright has gone to show how and why the relation between Chandre and Bona is essential, and also shows how the modern state-corporate apparatuses are working to infringe that relation.
All these messages, however, could have been dull without Sudip Chakraborthy’s experimental and innovative direction. Sudip has used traditional narrative techniques, acting, songs, music and dance to make the play compact and riveting.
All 10 performers come on stage in identical attires. Soft melody on traditional music instruments set an ambience and suddenly it changes to a higher and a faster tempo. Four performers, who enact the lead roles and also perform as narrators, declare their objective, that is, a presentation and celebration of ‘pantheistic narration of beautiful Bangla’.
‘I have tried to combine the traditional, oriental and occidental theatre techniques in the play so as to create a wider appeal’, said Sudip Chakroborthy.
It is particularly difficult to sort out the best performers. All of them, for their flawless and energetic performances, kept the audience engrossed from the beginning to the end.
Mahjabeen Islam, Syeda Ifat Ara, Nusrat Sharmin, Atiqur Rahman, SM Zumman Sadik were performers on stage.
The play will stage two more shows today and tomorrow at NatMandal before it goes to represent Bangladesh at the Tin Forest Theatre Festival, organised by National Theatre of Scotland.
-With New Age input
