Thursday I was opportune enough to watch Bratyajaner Ruddhasangeet at Kalamandir. Bratya Basu had made quite a name with his political production earlier, Winkle Twinkle. So the drama coming from this man, based on legendary Rabindrasangeet singer Debabrata Biswas, rode the hype from the very beginning. To be frank, Bratya did justice to his reputation--slips and some weakness are there still though, I think. What I feel about Ruddhasangeet is Debabrata Biswas here is a ploy---his life well delineated though---yet the character plays a number of shades. While at one hand, Bratya tries to capture the present in the trope of history, on the other, efforts to institutionalize Rabindranaath Tagore and his songs and the inhuman, demonic intrusion if the "institution", that never allowed anyone to surpass it and mount the steps of popularity, is severely lashed out at. In the drama, as history invades, past is relived, present becomes more vivid.
Bratya's present political activities quite places himself with a clear camp---thanks to the ruling front and its leader the divided 'campified' Bengali existence is very much to the fore. Basu tried to capture the dilemma that rocked the communist party in the time of its inception and cites the 'disillusionment' of the Bengali intelligentsia with the Communists or rather the 'party'. But as I said earlier, history played a trap at the hands of Bratya who I felt tried to bring up recent topical allusions time and again through the play. At a time when the 'communist' party is reeling under one of its worst debacles and rough times, the personality cult, the imbecile eulozisation of some foreign communist leaders who does not have even obscure relation with Indian society and polity whatsoever, the party shielding the leaders and the foul cry of plotting against all who try to defy or question 'party-line'...all these are not new....its the 'tradition'...as Bratya tried to make it out, I felt. So Bratya can easily put dialogues like, "can you assure that when your party comes to power it will not fire on the poor farmers?"( Nandigram, said anyone?) "Its better to be Maobadi than a Kamaobadi"( '70s had Naxal menace but Maoist allusion definitely establishes it in present mileau.) on Debabrata Biswas, or even his Rittwik can challenge Pramod Dasgupta of shielding the favourite leaders in the name of some far flung leaders of Europe or Latin America when they fail in direct confrontation falling short of proper argument. Nothing new, it was and it is the same and Bratya pointed out the fact quite deftly. And sure kudos for the man who can directly chalk out Jyoti Basu ( the semi-god in Indian Communism scenario), Pramod Dasgupta or Suchitra Mitra and present them directly on the stage...... and to be remembered however less the path may be followed still the state is ruled by leftists.....lolzzzz
True some elaborations could have made things more logical...but did Bratya sit for logically testifying things?.....on one hand he had to frame the life of a legend who was severely wronged and on the other he had to use the same as a trope to shoot his political views and if he chooses his events accordingly he does so in every right of his that he enjoys as a creator. Did he mislead?...if yes, suit him.....if not, take the art for art's sake......a conditioned mind probably hinder the appreciation of the drama....and it is outright political. Bratya did not have any liability to please all the political groups.
The use of the stage was Intelligent....Brechtian inclination was palpable enough. But regarding the characters....Debshankar Halder was superb in the role of Debabrata Biswas, in his moymansing dialect he simply went on winning the hearts and though out the lenght of the play he simple proved his credentials. But Salil or Rittwik's characters were rather poor in ther etching out. Salil was a bit loud and Rittwik appeared Shakespearean fool.
On a whole job done really well....though....it may leave a number of political questions unanswered, or rather Bratya omitted some...but as I said he probably had no intention to please one particular colour. And when the wind of change in undoubtedly sweeping this part of the world, a dramatist can not probably risk his production....lolzzz
Bratya's present political activities quite places himself with a clear camp---thanks to the ruling front and its leader the divided 'campified' Bengali existence is very much to the fore. Basu tried to capture the dilemma that rocked the communist party in the time of its inception and cites the 'disillusionment' of the Bengali intelligentsia with the Communists or rather the 'party'. But as I said earlier, history played a trap at the hands of Bratya who I felt tried to bring up recent topical allusions time and again through the play. At a time when the 'communist' party is reeling under one of its worst debacles and rough times, the personality cult, the imbecile eulozisation of some foreign communist leaders who does not have even obscure relation with Indian society and polity whatsoever, the party shielding the leaders and the foul cry of plotting against all who try to defy or question 'party-line'...all these are not new....its the 'tradition'...as Bratya tried to make it out, I felt. So Bratya can easily put dialogues like, "can you assure that when your party comes to power it will not fire on the poor farmers?"( Nandigram, said anyone?) "Its better to be Maobadi than a Kamaobadi"( '70s had Naxal menace but Maoist allusion definitely establishes it in present mileau.) on Debabrata Biswas, or even his Rittwik can challenge Pramod Dasgupta of shielding the favourite leaders in the name of some far flung leaders of Europe or Latin America when they fail in direct confrontation falling short of proper argument. Nothing new, it was and it is the same and Bratya pointed out the fact quite deftly. And sure kudos for the man who can directly chalk out Jyoti Basu ( the semi-god in Indian Communism scenario), Pramod Dasgupta or Suchitra Mitra and present them directly on the stage...... and to be remembered however less the path may be followed still the state is ruled by leftists.....lolzzzz
True some elaborations could have made things more logical...but did Bratya sit for logically testifying things?.....on one hand he had to frame the life of a legend who was severely wronged and on the other he had to use the same as a trope to shoot his political views and if he chooses his events accordingly he does so in every right of his that he enjoys as a creator. Did he mislead?...if yes, suit him.....if not, take the art for art's sake......a conditioned mind probably hinder the appreciation of the drama....and it is outright political. Bratya did not have any liability to please all the political groups.
The use of the stage was Intelligent....Brechtian inclination was palpable enough. But regarding the characters....Debshankar Halder was superb in the role of Debabrata Biswas, in his moymansing dialect he simply went on winning the hearts and though out the lenght of the play he simple proved his credentials. But Salil or Rittwik's characters were rather poor in ther etching out. Salil was a bit loud and Rittwik appeared Shakespearean fool.
On a whole job done really well....though....it may leave a number of political questions unanswered, or rather Bratya omitted some...but as I said he probably had no intention to please one particular colour. And when the wind of change in undoubtedly sweeping this part of the world, a dramatist can not probably risk his production....lolzzz
Very good as a critics, try too take this style in your own creations. Now we want another micro story as good as Nizam or better. (Love story or funny)
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