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Chandalika

Tagore's classic dance-drama staged by Shadhona

ERSHAD KAMOL
The discrimination in caste, race, class and gender have often tom the fabric of society into pieces. People from the so-called lower caste or races are often marginalised.
Rabindranath Tagore in his play Chandalika, an adaptation from Jatak, the collection of Buddhist
stories, has portrayed die emotion of the lower caste born maid Prokrity whom upper caste people label as "untouchable." This character develops a fascination for the Buddhist monk Ananda. The genesis of the attraction can be traced back to an earlier incident where the monk was offered water byProkrity.
Shadhana staged Chandalika, recently at the National Theatre Stage as a fund- raiser effort for the construction of the building of Chhayanaut. In her speech Sanjita Khatun, the principal of Chhayanaut, thanked the troupe for their participation.
The original story depicts how, having achieved Nirvana, Chandalika gives up her desire for Ananda. However, Tagore has not given a glimpse of Buddha or die necessity of acquiring Nirvana. His Chandalika is more humane and dramatic. At the end, when Prokrity's mother uses witchcraft to force Ananda to come to Prokrity, the latter turns down Ananda as she recognises that love cannot be achieved forcefully.
In the dance-drama production ofChanda/i'EabyShadhana, a dance troupe, Sharmila Bandyopadhyaya performed the role of Prokrity, Lubna Marium essayed the role of Prokrity's mother while Swapan portrayedAnanda.
The most interesting feature of the dance-drama was the conflict and sharing of emotion between the mother and daughter, following the Bharatnatyam dance trend. To portray the inherfeelings of Prokrity, choreographer Sharmila Bandyopadhyaya used chorus dance presentation, following Pandit Uday Shankar's dancing style, while in the witchcraft scene, the South Indian Katltakali dance trendwas foil owed.
Rezwana Chowhdury Bannya
was the music director as well as the lead vocal. Rama Mandal, Sadi Mohammed and others sang the background songs.
Costume designer Sharmila Bandyopadhyaya used colourful costumes with glitter. For Ananda and his comrades, Chibor, the typical attire of the Buddhist monks has been used.
Light designer Bhasar Bandyopadhyaya has used symbolic colour effect on the cyclorama to create the mood and tempo of the dance-drama. Using of yellow lights during the spring song however, seemed ineffective. Interestingly, he created silhouettes of the dancers, usingthebouncinglight effect of the cyclorama.