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The deliverance of Sita

Simon Zakaria and Averee Chaurey see an epic heroine in a new light

Karim Waheed
As the torrential downpour drenched many on the way, and some formed little groups at the lobby of Experimental Theatre Hall. Bangladesh Shilpakala Academy on June 12, the last bell rang. The show was about to start right on time: 7:30 pm.
The event, premiere show of Shadhona's latest production. "Sitar Agni-Parikkha," had the packed audience — including the who's who in the theatre circuit — waiting in anticipation. The team of dohar’ (accompanying musicians and singers in an indigenous performing art form) seemed ready. The lead character (who was to eventually enact all characters) emerged ’ in focus and the play started with an 'ashon bandona' (devotional intro, usually seeking blessings from Divinity, and paying homage to the writer of the play).
The monodrama, following the 'Kushan Gaan' (a tradition indigenous to northern Bangladesh) style, has been written by Simon Zakaria. Zakaria won the 'HSBC-Kali O Kalom’ award (2008) for "Bangladesh-cr Lokonatok: Bishoy O Aangik Baichitra," a research-based book on the indigenous performing arts of rural Bengal.
All characters were enacted by Averee Chaurey, an accomplished actor from Delhi, who has worked with leading Indian theatre houses like Bohurupee and Naya Theatre (of the late Habib Tanvir). Chaurey was supported by a chorus of young and talented Bangladeshi artistes.
The play begins at the ’ashok-kanan’ in Ravan's Lanka palace. A dishevelled Sita laments her abduction and captivity. In a
flash Chaurey becomes Mandodari, Ravan's queen consort, who blames Sita for "seducing her husband with her looks, and curses her with "eternal misery An unwilling home wrecker," Sita shakes in fear.
Everyday, Ravan, the demon king, terrorises Sita - sometimes with threats, and with illusions at others. But Sita, the epitome of fidelity, never budges an inch. She awaits her saviour, her husband, the love of her life -- Ram -- like a desert awaits rain.
The war over Sita ends. Ram smites Ravan. The heroine is ecstatic in anticipation. She picks the most exotic flowers and makes lei to greet her beloved. She hears footsteps and rushes, soon to be disappointed. Ram has not come; he has sent Vibhishan - an ally and the new King of Lanka - to bring Sita. As she tries to hurry to her husband, Sita is ordered to gussy up. Though annoyed, she obeys, as a good, dutiful wife would. She is made to walk to Ram's camp. Instead of her husband's loving arms, she finds belittlement and accusations of being "unchaste."
Ram explains that the war with Ravan was not about her; it was about rescuing his machismo and heroism under threat from Ravan. The hero even goes to the extent of giving Sita away to one of his half brothers orVibhishan. And this is what breaks Sita's all-enduring patience. She comes of age. She realises Ram doesn't love her any more and her presence supposedly "tarnishes" his nobility. A dejected Sita asks her brother in law, Lakkhan, to set up a "chita" (pyre) for her. Ram delightfully encourages this idea of 'agni-parikkha' (the test of going through fire to prove one's chastity to the world). But hasn't Sita undergone 'agni-parikkha' repeatedly?
Soon after her wedding, when Ram was exiled (for fourteen years), Sita willingly renounced comforts of the palace and joined her husband in braving the travails, even living in forests. Throughout her captivity, she didn't give in to Ravan. Her dignity, her sense of self have been burnt time and again. What harm can fire do to her earthly body?
This post-feminist approach to the fire ordeal of Sita has the essence of secular indigenous performing art forms (still practised in rural Bangladesh), tailored to stir the sensitiv(jjeigf at^ , urban audience. Abdul Halim Pramanik's able direction fortifies the production.
Averee Chaurey was a revelation. With just a turn or glare, this seasoned actor can summon an epitome of femininity, a bullying demon king, a gossipy resident of Lanka and a contemptuous Ram.
The group of 'dohar' (comprising Monir Ahmed Shakil, Zahedul Kabir Liton, Taskin Binte Siddique Sumi and Shompa Rani Bala) deserve special mention for creating an apt ambiance. Music direction was by Monir Ahmed Shakil and Zahedul Kabir Liton. Reza Shahriar is the light designer and Enamtara Saki, the costume designer.
According to Lubna Mariam, general secretary of Shadhona, this production (a joint effort by Bangladeshi and Indian theatre activists) will be staged in major Indian cities as well as North America and the UK. As theatre personalities Aly Zaker and Ramendu Majumder put it, the audience will be eagerly waiting for more quality productions by Shadhona.