17 March, 2012 (Saturday) - 7pm - PRAGOITIHASIK @Sujata Sadan
(Regular Show : Every 3rd saturday 7pm at Sujata Sadan)
Last Performances :::
5December, 2011 - 8pm - PRAGOITIHASIK @Barasat
11December, 2011 - 7pm - ASTAM GARVO @Birati
2January, 2012 (Monday) - 7pm - PRAGOITIHASIK @Sujata Sadan
9January, 2012 (Monday) - 6pm - NEELKANTHA DESH @Dr. Triguna Sen Auditorium, JU Campus
21January, 2012 (Saturday) - 7pm - PRAGOITIHASIK @Sujata Sadan
Name of the Play : NEELKANTHER DESH
Language : Bengali
Playwright : Supratim Roy
Produced by : GOTROHEEN (DUMDUM)
Direction : Supratim Roy
Duration : 1 hour 50 minutes (approximately)
Lyrics and Music : Anindya Sundar Chakraborty &
Bodhaditya Bandyopadhyay
Other songs from : Lalon Fakir and Traditional Baul
Background score : Anindya Sundar Chakraborty
Choreograph : Shruti Ghosh
Stage Design : Supratim Roy
Light Design : Bablu Sarkar
Make-up : Debasish Chatterjee
Vocal : Anindya Sundar Chakraborty
Make-up : Debasish Chatterjee
Vocal : Anindya Sundar Chakraborty
Bodhaditya Bandyopadhyay
Sumit Kumar Dey
Rupsha Mukherjee
Sitar Player : Subhankar Mukherjee
Dhol Player : Soumen Roy
Actor & Actress : Antika Chatterjee
Parijat Sarkar
Rupsha Mukherjee
Debjani Gupta
Tanushree Sarkar
Sreshtha Sarkar
Sumit Kumar Dey
Subhrangshu Mukherjee
Sujay Das
Samrat Roy
Jay Modak
Supratim RoySubject of the play :
— Eco-feminism - is the latest thoughts among the different relevant schools of feministic theory and activism. . Eco-feminism argues that there is a connection between women and nature that comes from their shared history of oppression by a patriarchal society; this connection also comes from the positive identification of women with nature.
This is the 1st time in Bengali Theatre in which the concept of Ecofeminism is raised.
On the eve of 100 years of 'women's day', this optimism marks the celebration more vibrant.
— Anti War and power practice.
Uniqueness of the play :
— Deals the above subjects through the spectacle of Indian Philosophy (Bharatiya Darshan)
— Lyrical script is the heart of the play.
— Songs & Music – Songs of Fakir Lalon Shah, other Baul songs.
— Choreographs are highly influenced by Chhau, Kalaripayattu and others folks dance.
— Deals the above subjects through the spectacle of Indian Philosophy (Bharatiya Darshan)
— Lyrical script is the heart of the play.
— Songs & Music – Songs of Fakir Lalon Shah, other Baul songs.
— Choreographs are highly influenced by Chhau, Kalaripayattu and others folks dance.
Purpose
The dialectic between creation and consumption gains a sharp aspect when the perception of ‘desire’ turns into ‘lust’. As the ‘subject’ of creation becomes ‘object’ of ownership, the relation between the two factors indulges into newer contradictions. This allegorical play deals with the age-old dialectic between creative forces, symbolically and keeping social history in mind, represented by women; and the consumers represented by men, so far the leaders and owners of resource, women as well as champions of all destruction.
While the culture of war, destruction and accelerating trend of consumption is very much in vogue, an alternative culture pre-dominated by creators, the women, soul of nature mother brings about a new way of protecting culture of creation. Thus the project’s purpose is to take the debate of this age-old dialectic further so as to make it more prominent in the present socio-political-economical as well as cultural discourse.
AIM
'Nature and Woman, both are mere source of procreation' – that is how they are considered by the State and its rulers throughout history predominated by culture of masculinity. Exaltation of masculine power over female as well as exercising control over natural resources has been prevalent among all spectrum of male. Steadily their 'desire' for both turned into 'lust' and due to sustained discriminatory 'power structure' between man and woman, the latter has always been subject to oppression, coercion. Along with natural sources, woman became object of ownership, thus losing basic sanctity of an individual and a human being. Modernity brought about new means of exploiting the very nature thus uprooting people who were synonymous with it. While this is sheer manifestation of masculine culture, the culture of consumers; this play envisages a world predominantly guided by the real creators' culture which would possibly take us to a brighter horizon.
On the eve of 100 years of 'women's day', this optimism marks the celebration more vibrant.
Why this play is different?
· Eco-feminism is the latest thoughts among the different relevant schools of feministic theory and activism. Ecofeminism argues that there is a connection between women and nature that comes from their shared history of oppression by a patriarchal society; this connection also comes from the positive identification of women with nature. This relationship can be argued from an essentialist position, attributing it to biological factors, or from a position that explains it as a social construct. In the current drama the idea of “Eco-feminism” has been emphasized through different characters. This drama also pointed out how societies ill-use both women and nature for production of wealth and commodities.
There are two civilizations one is completely dominated by men and another by women. The men are war-monger and use to attack women dominated state for collecting green resources and rape women just to produce their off spring. In this drama the male characters are not concern about real love, sorrow, conservation of nature and other so called human emotion. An impotent old man namely “Sarthak” stays in that female world and strongly dislikes the so called male behavior. He formulates a killing drug which has a unique potentiality to kill the male when he will involve in sexual pleasure with a female. An aged lady namely “Anusua” disagrees with the old man to administered the drug as weapon to kill the men coming to conquer the women land. Because of the killing instinct is a masculine behavior. A real couple namely “Puspa” and “Lava” make to realize that they never live together in this existing situation and decided themselves to suicide using Sarthak’s drug.
On the eve of 100 years of 'Women's Day', this optimism marks the celebration more vibrant.
- This play is against war and arm practice. It says about peace, about plea. It says war is nothing but a human massacre and destroying natural resources. Today when every war is for grabbing natural resources this play deals this burning issue in a very lyrical mood.
- Another key factor of this play is its music and song. Here we use folk songs like Lalon and other Baul Gaan. There are three poems including one of Jasimuddin. The music composer Anindya is a scholar of Royal School of Music (5th grade) and Saurav scholar and ex-faculty of A R Rahaman’s
school ofMusic
- This play states about the Indian philosophy (Bharatiya Darshan) which is quite different than western philosophy. It states the philosophy of mercy, the philosophy of tolerance.
