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100th anniversary of litterateur Manik Bandyopadhyay celebrated

"Pragoitihashik" staged

Ershad Kamol
Though litterateur Manik Badyopadhyay's (1908-1956) birth anniversary is on May 19, Bangladesh Shjjpakala Apademy (BSA). and theatre troupe Nagorik Natyangan jointly organised the 100th birth anniversary of the litterateur at the National Theatre Stage on May 16. The programme included discussion and staging of Pragoitihashik, an adaptation of Badyopadhyay's popular short story having the same title.
Critic and litterateur Abdus Shakur was the chief guest. Bandyopadhyay's youngest son Shukanto Bandyopadhyay, cul- tural personality Professor Jotin Sarkar; Chairperson of Nagorik Natyangan, Dr Enamul Huq; General Secretary of Shammilito Shanskritik Jote Golam Kuddus and Chairman of Bangladesh Patho Naok Parishod Mannan" Heera also spoke at the programme. General Secretary of Nagorik Natyangan Lucky Enam delivered the speech of felicitation. The discussion session was presided over by Director General of BSA, Bhuiyan Shafiqul Islam.
Discussants at the programme focused on Manik Bandyopadhyay's bohemian lifestyle, his ideology and his contributions in Bangla literature. Moreover, they evaluated him as a
litterateur.
The discussion was followed by the staging of Pragoitihashik. adapted by Mahmud Selim and directed by Lucky Enam.
The protagonist of the play, a ■ diabolical character Tfirdu^K the character, animal instincts in man have been portrayed. Man has been evaluated in the play as lecherous, greedy, hypocritical, selfish and avenging.
But, Manik Bandyopadhyay cannot be labelled as a misanthropist. After so many murders and stories of lust, Bhikhu and Panchi find peace at the end of the play. In fact, Manik has portrayed the struggle of the working class through addressing the primeval
human instincts of lust, rage and desire to possess.
In this sense, Pragoitihashik can be evaluated through dialectical materialism, the philosophical basis of Marxism. As Georgi ■Valentinovich--sfan revolutionary and a Marxist theoretician, who has contributed many ideas to Marxism in the area of philosophy and the roles of art and religion in society, points out the human instinct is one of the modes of dialectical materialism.
Director Lucky Enam has successfully created the tension and conflicts aptly in the play. Her handling of 'subconscious mind' of the character of Bhikhu and Pachi deserves plaudit. Through-
out the play equal tempo has been maintained except in the 'Baul Scenes', where Panchi longs for a purified soul.
Mahmudul Islam Selim as Bhikhu performed well. Sajjad Reza as Pehlad, Arbatuzzaman Proloy as lame beggar Bashir, Hridy Huq as Pachi performed spontaneously on the stage.
Saju Khadem's set also successfully represents rural Bangla However, Jasimuddin's light design is the weakest part of the play. He has used so many effects, which interrupt the concentration of the play. Instead of using three circular zones for narration, Jasim could have used linear zone on the frontal stage.