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Dhaka Day by Day

Poignant and Passionate

by Fayza Haq
"Zimmy", written by Mannan Hecra, one of rfhc plays presented by the Dhaka City Theatre at the Shaheed Mtnar, had Its goal in the right direction: "Ekushey” was being portrayed as a struggle to obtain the rights of the common Bangladeshi, to use their mother tongue in their own country.
Before the performance commenced, there was a fiery recitation and presentation of skits, which dwelt on the national language of our country. These included ominous words such us, "Hindus will take over our country", and "We will march to the National Assembly, If ne cessary”. All the consistent struggle of the Bangladeshis since '52 were pre sented by reciters of both sexes. The mood of the young Girticipants was bel rose and remarkably determined.
The young partici pants spoke loudly and clearly of how the shops in the country had sudden ly been shut, and people shot at. They declared the latter incident was Unjust and said, "We will not tolerate the present state of af fairs, and we have no fear of death as we have faced it earlier The presentation was sophisticated and well rehearsed What also included in the programme, before the play, wen-songs of the "Bongo Bondhu Shllpl Gos thi.” This included pieces such as
"Bangia amar jonm<> bhumf, Bangia amar pran”, which had the accompaniment of ptabla" and "harmonium."
The song "Amar Bangia maer mukti elo. emon chheler jonno" followed with the same vivacity and steady pulse Mago ma raj kumarer golpo holo, ebar onno golpo bolo", another piece, followed In quick succession, with the same emotion-charged voices.
Die play Itself was undoubtedly an apt one, with suitable comic relief. In the plot there was the police officer, who spoke with Sylhcti intonation pattern, as well as the dialect itself from that particular district, wore clown-like pink i and grey baggy pants. He carried on like some abominable blunderbuss. The assistant police was a purely comic character, who acted with zeal, as did also his boss, the senior policeman. The "mollah” grovelled at the knees of the po-licc. whenever intimidated.
What the police force was out to catch was a suspected thief, who carried what the police thought was a stolen a box. The so-called rogue himself, whose performance excelled that of many of the other participants, was suspected of having some "pinched” treasure. "Fakirs" were brought in. to provide more humour and realism. They wen: depicted as individuals who were surreptitiously helping the suspect. In the hunt for the rascal” there were < oinical bickerings between the two po-u-cmen. and this brought peals of laughter from the audience.
While the 'thief ejgncd death, his body moved, and it Wits detected that he been smoking re-■ ently. This was no Xgatha Christle-ltkc bot, as the symbols and goals of the play vere deeper than a hat are found In << Il-known dclec-a c stories.
In the finale, it was eventually dis-■ losed that the ob-< ct that the 'thief •vas hiding was a red banner with the words 'Workers of the world unite'. Meanwhile, there was the apt chorus, near at hand, of Ghtimer manush aar ehumiyona'.
Directed by Azizul Hakim, the cast included Miraj Mamun as the chief police.
Reza Rustum as the junior police, and Azad Abul Kalam as the suspected "crook".
The play that followed "Zimmy”. presented by 'Aronyak Natyo Oosthf. was even more subtle and suave; with layers of meanings; a melange of symbols, and a marvellous manner of combining the well-known characters of the past and present — their dialogues being care fully juxtaposed.
It is always a pleasure to see young enthusiasts perform with vigour and ingenuity, as was witnessed in the play by the Dhaka City Theatre and the one that followed.