& çâÌæÚUæð´ ·¤è ¥ôÚU Îð¹Ùæ ÁæÚUè ÚU¹ð´ ¥ÍæüÌ ¥ÂÙð ÜÿØ ÂÚU ŠØæÙ ÚU¹ð´Ð ãæÚU Ù ×æÙð´, €UØô´ç·¤ ·¤æ× ·¤ÚUÙð âð ¥æÂ·¤ô ©gðàØ ·¤è Âýæç# ãôÌè ãñ ¥õÚU ÁèßÙ ·¤æ ¹æÜèÂÙ ÎêÚU ãôÌæ ãñÐ ÖÜð ãè ÁèßÙ ×ð´ ç·¤ÌÙè Öè ·¤çÆÙæ§ü €UØô´ Ù ¥æ°, çÁ™ææâæ ¥õÚU ©ˆâæã ÕÙæ° ÚU¹ð´Ð ŠØæÙ ÚU¹ð´, ÜÿØ ã×ðàææ ¥æÂ·Ô¤ Âæâ ãôÌð ãñ´ çÁ‹ãð´ ÂæÙð ·Ô¤ çÜ° ÂýØæâ ¥æÂ ·¤Öè Öè àæéM¤ ·¤ÚU â·¤Ìð ãñ´Ð

Tariq Anam an erudite artiste

ERSHAD KAMOL
DURING the early '80s to the early '90s, which might be termed as the golden decade of our television drama, the BTV viewers enjoyed the bold appearance of a few notable actors. Tariq Anam is undeniably one of them.
When asked why he is not seen on the TV channels of late, Tariq replies, ' I am busy making programmes for the private channels. I am totally engrossed with my ad-firm Adshop , after which I spend busy hours at the theatre group Natyakendra.'
He started his theatrical work in Dhaka as a regular member of Aranyak. Later he joined Theatre in 1981, and in 1990 he formed a new group Natyakendra. He completed his studies on film and television making from N.S.D.(National School for Drama) in Pune, India, with good results. There he got the scope to know about the various art forms of the world. When our discussion on theatre and particularly on direction began at his office, the reflection of his knowledge on world drama was inevitable. He said, ' I never like to confine my creative ideas on a single frame. An artiste must have an ideology, but in the case of art s/he should take ideas from all parts of the world. Whatever the form is that does not matter. Forgetting the religion, cultural or political barriers, we should use the art forms for the sake of art. I do not understand why we should only use the narrative technique to express "Bangla Acting Form". The narrative technique had been used in French Drama in the seventeenth century. Even German drama legend Brecht used narration as one of the devices for "Alienation" which is his basic drama concept. That does not mean that I do not believe in the forms like those which ignore western ideals. What I'd like to say is that if the situation demands, I do not hesitate to take ideas from Japanese "Noe" or "Kabuki" form or any other forms of the west. Ideology and style are two different things. However one thing I'd like to add is that "Bangla Acting Form" has not yet become a cult or school like Staneslavosky's (Russian) School. We should work together to establish that. In the case of direction I always try to maintain this. Kanjus, Araj Ali Jibotmrito, Tughlok are such productions which are appreciated by the audience.I consider Ibrahim Ali Kazi of N.S.D. as my ideal.'
He adds 'I like rhythmic dialogues. That is why my favourite playwrights are Shakespeare, Lorka, Ibsen, Miller, Shaw, Syed Shamsul Haq, Selim Al Deen and Masum Reza.' He has translated five plays for his theatrical group. His favourite drama persons are Peter Brook, Utpal Datto, Nasiruddin Shah and Ajoy Dashgupto.
He is not happy with the present standard of television drama production. He thinks that most actors are now busy with mega-serials. In this way great actors like Amitabh Bachchan or Nasiruddin Shah-- cannot come into being. He says, ' There is a dearth of quality performers now. This is why we often have to cast the fashion models which is not good for quality drama. Everybody is now after short-cuts. But what can we do? The whole system has become problematic. Television is always used as a weapon to support the government from the beginning, as it is the most powerful medium." But he is hopeful for a better future.
He received the 'Meril -Prothom Alo Award' as the best T.V. player and playwright award from critics' point of view.