The weeklong “International Theatre Festival, Seminar and Workshop” that started on May 27 at the Bangladesh Shilpakala Academy saw 25 plays by as many troupes from home and abroad. Four overseas troupes — two from India and one each from China and UAE — added some diversity to the fest. However, president of the Bangladesh Centre of ITI, Nasiruddin Yousuff felt that the participation of overseas troupes was inadequate.

The Bangladesh Centre of International Theatre Institute (ITI) arranged the festival in association with the Ministry of Cultural Affairs and Bangladesh Shilpakala Academy. The festival ended on June 3.

Demonstrating the diversity of Asian theatre through participation of four overseas troupes may not be feasible, yet it was an opportunity for the Dhaka audience to see some other Asian theatre traditions.

“The Pianist”, staged on the last day of the festival by Fujairah Culture and Media Authority, UAE, was a surprise for the Dhaka audience as they are less acquainted with theatre practice in the Middle East. Nanning Yue Opera's “Mouse Daughter's Marriage”

was another notable performance by a non-Bangladeshi troupe.

Using poetry, dance and music, “The Pianist” is a monologue from the multi-layered life of an individual who seeks redemption. It is a parable about the condition of a woman in the Arab world. Dr. Malha Abdullah's text has been directed and performed by Latefa Ahrrare (Morocco).

On the other hand, “Mouse Daughter's Marriage” was a vibrant display of Chinese martial art with mimicry and light comedy.

Sandarbh's (India) adaptation of the Tagore short story “Bostomi”, that was staged on June 2 at the National Theatre Hall, had a strong impact on the audience. It zooms in on a real life character whom Tagore met during his stay in Shilaidah. The bond between Tagore and aVaishnavite woman namely Anandi is the subject of the play where the poet makes an appearance as a character. Written by Jhulan Mukhopadhyay and directed by Soumitra Basu, the play saw accomplished actress Averee Chaurey as Anandi, the Bostomi.

Bangladeshi traditional theatre forms were highlighted at the fest too.

Students of the Department of Theatre, Dhaka University

staged the folk ballad “Bhelua". A mix of urban and rural dialogues and Dhamer Gaan made the production remarkable. The European styled monodrama, “The Distant Near”, staged by local performers, was also praised. Another European styled production was “Medea", staged by Arshi Theatre from India. TWo local dance dramas — "Mayar Khela” by Shadhona and "Shapmochon" by Pallabi Dance Centre — demonstrated the South Asian diversity and storytelling through music and dance. Especially, "Mayar Khela” was a treat for the delegates, as Professor Chua Soo Pong of China found it to be “an energetic and beautiful production”.

Tagore predominantly ruled the festival, as nine plays were either adaptations of his literary works or based on his life. Like Tagore, the Liberation War was another preferred subject for the local theatre troupes.

A workshop on Chinese Opera conducted by Professor Chua Soo Pong and an international seminar highlighting four papers on Asian theatre wrapped up the event, though expectations were higher.