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The Liberation War dynamically changed my worldviews

-- Selim Al Deen

ERSHAD KAMOL
THE career graph of prominent playwright Selim Al Deen is pointing upwards. His plays have been staged by several theatrical groups in Bangladesh as well as in Kolkata Some of his plays have also been translated in several European countries.
Looking back at his artistic career, Selim says, 'I began writing stage plays while still a student of Dhaka university. Playwrights of those days were greatly influenced by Western dramatists such as Sartre, Beckett and others.
'I was also influenced by the West. But the freedom movement dynamically changed my worldview. After the Liberation War, I felt an urge to do something for our own decaying drama
form. And I felt that this objective could be realised after acquiring enough knowledge on world drama. The work of Greek and Roman classical writers, Manik Bandopadhyay, Tarashankar Bandopadhyay and others around the world continue to inspire me. Till Shakuntala, I do not consider my plays as unique. People can get a true taste of my writing from the play Kittonkhola (1989) onwards.
'I consider my work as the joint effort of Dhaka Theatre and Nasiruddin Yousuff. The 'Narrative Technique' that we have jointly introduced is totally different from the narration, which is found in French drama trend or other theatre. I think, our 'Narrative Technique' has dynamically changed the static situation of the world drama. I consider the technique as a 'Magic Technique' for the directorial work. Even a novel can be staged by using the technique.
In the modern drama concept, any visual art form that the audience watches on a performing space can be recognised as theatre. In this sense Jatra pala, pala-gaan and the so-called stage plays or others are the different branches of theatre. In fact, we are trying to present our indigenous art forms through theatre, taking all the salient features from all over the world.'
On the new Narrative Technique Selim says, 'We are following the path of many world famous artistes. In the present world scenario, no single culture or cult can enrich itself, which was possible in the ancient Greek or Roman era. We do not regard it as the 'Blending of Ideas', because we are only focusing on our own traditions. And the Western dramatists and directors are also using our concepts. But Sanskrit critic Bharat Muni's concept on acting, incorporated in Natyashastra, is more
suitable than that of the other western critics. Moreover, we like to focus on the traditional presentation of the indigenous rural art forms.'
On his own plays Selim says, 'Aesthetically, after Kittonkhola I have written all quality plays.'
Besides writing stage plays he is also a prominent TV playwright. Some of his TV serials like Granthikgan Kahe, Chhaya Shikari and others have won plaudits from the audience.
His latest script--Nimojjon-- on the genocide that has taken place all around the world is yet to be staged. This work, however, has already gained popularity. On his recent projects Selim says, 'I am editing my new play Dhaboman. At the same time I am working on the publication of the
second edition of my popular stage plays Keramat Mangal and Joiboti Konnar Mon. Moreover, I spend considerable time with my students. I am directing some of the academic productions of the Department of Drama and Dramatics of Jahangirnagar university. But, I have no intentions of directing a play for any professional theatrical groups.'
In the sphere of world literature, Selim's tastes run to Rabindranath, Tolstoy and Goethe. In Bangla literature his favourite writers are poet Mohammad Rafiq and Debesh Roy of India.
In recognition of his rich contribution as a playwright, Selim Al Deen has won many prestigious awards at the national and international level.