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Star talk

Mamunur Rashid

An institution by himself

ERSHAD KAMOL
MAMuNuR Rashid, a theatre worker, organiser, director, playwright and actor, is a prominent figure in our cultural arena not only because of his contributions but also because he has been a mentor to other cultural activists.
President of the Bangladesh Group Theatre Federation (BGTF), Mamunur Rashid thinks that the artistes should not be involved with organisational work since it takes up lot of time which should rather be spent in new innovations and creations. At the same time actors play a role for the interest of people who have the fascination for art, but are unable to show any creativity.
under Mamunur Rashid's leadership, BGTF is planning to organise a workshop this year for the upcoming and talented playwrights of the country. Yet another workshop is underway next year for directors as well as designers.
Rashid had a fascination for acting since his childhood, but as a theatre activist, his first appearance on stage was in the play Poschimer Shirri produced by Aranyak Natyadal. A director of most of his own plays and some stage plays of other writers, he has also written fifteen stage plays and a good number of TV plays. To him drama is not only a source of inspiration and pleasure but also a sharp weapon for class struggle.
A follower of Russian Staneslavosky, his favourite playwrights are Sophocles, Shakespeare, Brecht and Ibsen. His favourite play happens to be "Hamlet, Prince of Denmark" and this character itself has always been a matter of wonder to him.
Rashid is very much attracted to Lebedev. He thinks that the Russians introduced us to the concept of theatre. A single man or a particular time cannotintroduce a form of art. This man, revolting against the British rule, gave a chance to some native artistes to play on the Proscenium Stage on 27 November 1795. He considers it a landmark because the theatre performance on Proscenium Stage is still being carried out. He appreciates those who are trying to find out the roots of the true form of Bangla drama in this age of globalisation. He wants to bridge the gap between the east and the west. In case of art, perfect practical application is more important than theory. 'We must have an institute for drama like NSD (National School for Drama) in India to create
some young talents, says Rashid. Mamunur Rashid is not very fond of the TV artistes who consider money and popularity more important than art. He encourages the introduction of package drama but thinks that the current trend is not very good.
He enjoys his acting and does not mind whether his roleis a small or big. His favourite pastime is to spend his evenings in the rehearsal room with his fellow Aranyak Natyadal activists.
As a mark of protest against the then autocratic military rule, this true devotee of art had rejected the Bangla Academy Padak in 1982.