History focuses on the heroes, their triumphs and victories, yet it does not highlight the people behind these specters of brilliance especially the women who supported them and in the end shared in their glories and downfalls.
The play Narigan, by eminent poet-playwright Syed Shamsul Haque and directed by theatre personality Ataur Rahman, depicts the consequences of capture and demise of the last independent Nawab Siraj-Ud-Daulah through three women characters.
The theatre was premiered at the Experimental Theatre Hall of Bangladesh Shilpakala Academy on Monday.
Narigan begins with the capture of Siraj-Ud-Daulah and his wife Lutfunessa. The Nawab is eventually killed, the ambience grows pitch dark. Left behind are his wife, his mother Amina and his grandmother Sarifunnessa who are also captured. The intensity of the situation is piqued by the walkways of the theatre being surrounded by guards giving the audience the impression that they are captured as well.
The reality of the situation stresses on Sarifunnessa; her lineage is lost so is the promise of freedom. The torture inflicted upon them by the captors is also illustrated by the psychological torment she is facing. They have been defeated and this rouses disbelief in her.
The voice of reason is Amina who tries to keep the family intact. Lutfunnessa is resigned to insanity due to her grief; the fragmentary pieces of memory of her husband, of happier times, visit her as her only solace. In the height of madness and depression it is Amina who tries to convince the other women that they must strongly accept the reality of the conditions they are in.
Sarifunnessa still thinks of the events as a setback rather a final blow. She tries to encourage Amina and Lutfunnessa to rise up against the defeat and instigate a rebellion. She gesticulates grandly of the past battles won by her lineage. Her posture upright she stands high against failure and speaks loudly with confidence. The audience is made to see how her pride has clouded her judgment.
The stage is empty with only a broken column mired with the national flag of the country symbolises the bitter end of a dynasty. The shadowy atmosphere magnifies the desolate feeling that has ensnared the survivors of documented history.
The gravity of the situation finally reveals itself with the killing of the three women. They are made to drown ending the rebellion.
About the play, director Ataur Rahman told New Age, ‘The concern of the play was to show how woman become victimized in any war fought by men.’
The play was also experienced by artistes of different theatre troupes of the country. Noted theatre activist Zahid Repon, the chief of theatre troupe Swapnadal, was also among the spectators. ‘It seems like the play has been directed by someone young; great work by Ataur Rahman. He has created an evergreen production,’ observed Zahid.
‘However, as it wasn’t a very lengthy production, the play should have been staged without any interval as interruption distracted the audiences from the illusion created in the play,’ added Zahid.
One of audiences was Ratan Sarkar, a government service holder. He observed that he liked the production as it was really a vibrant one. While Sagarikia Chowdhury, a university student, told New Age, ‘The play was pleasant as well touching. I especially liked the characters of Kutub.’
The play was enjoyed by a houseful audience.
-With New Age input
