The age-old debate on the concept of art— whether art is for art’s sake or for life — has been depicted in Ratan Siddiqui’s play Half Akhrai through the historic clash between a guru and his disciple set against the backdrop of the 19th-century India.
The play was staged by drama department of Bangladesh Udichi Shilpi Gosthi on Wednesday at the Experimental Theatre Hall of Bangladesh Shilpakala Academy.
Siddiqui’s play features a conservative Ramnidhi Gupta, widely known as Nidhu Babu, who is credited for developing a distinctive Bangla music style known as toppa. Nidhu Babu had the belief that music was not for all and there was no place for the low cast people in his Akhra [art centre].
A conflict develops in the play when Naidu’s disciple Mohanchand takes over the responsibility of the akhra after the retirement of his guru.
Mohanchand opens all the restrictions of the akhra as he believes that music is for the people, for life.
The guru, however, reacts badly, which forces Mohanchand to leave the akhra.
Ratan Siddiqui’s hero Mohanchand establishes a new institute and introduces a semi classical style that gets huge popularity as ‘half akhrai’.
But, at a night, some miscreants set fire in Mohanchand’s centre, which kills most of the members of the institute.
A determined Mohanchand looks forward to set another akhra.
Ratan Sidddiqui’s sense of proportion in art, especially his skill of creating humour while dealing with a serious theme, deserves plaudit.
Ratan Dev and Anwarul Haque respectively in the roles of Nidhu Babu and Mohanchand acted well.
‘The theme of the play is serious and thought-provoking. The conceptual and practical conflict between the tradition and semi tradition is still relevant’, said Azad Abul Kalam, the director of the play.
‘The play was enjoyable. I liked the theme’, said Hasanur Rahman, an audience said.
Another delighted audience Badrul Ahmed said, ‘The songs used in the play made it really entertaining.’
-With New Age input
