Suvashish Sinha
Director & Playwright
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Suvashish Sinha was born in 1978 in Kamolganj under Maulvibazar district. After completing HSC, he enrolled at the Department of Drama and Dramatics, Jahangirnagar University. He completed both BA (2003) and MA (2004) from the department.
As a Manipuri, Sinha was introduced to the arts by his family. He stepped into theatre after HSC. Through writing and directing a play “Megh Roud Brishti”, he formed a theatre troupe called Adhunik Natya Goshthi in his area in 1996. In 2000, the troupe got a new name and emerged as Manipuri Theatre.
Every play produced by the troupe (so far 27) has been directed by Sinha. He adapted and wrote several plays for his troupe and others. Natyakendra brought “Dalimkumar” on stage a couple years ago, which was written by Sinha. “Kohe Birangana” (produced by Manipuri Theatre), written and directed by him, has been lauded by critics and audiences alike.
Some of Sinha's works for Manipuri Theatre are “Shree Kishna Kirtan”, “Ingal Andhar Pala”, “Debotar Grash” and “Kohe Birangana”.
Sinha has been preserving and promoting his own cultural heritage. The fact that he is continuing theatre practice at a remote corner of the country is a real inspiration.
Though Sinha is better known as a theatre activist, he is also an accomplished poet. He attended SAARC Writers' Conference in New Delhi in 2005 as a poet and recited his poem as the youngest participant.
He wrote several plays for TV as well. They include “Shur-Beshur”, “Catharsis”, “Chor”, “Jamin” and “Manush O Ekti Omanobik Akhyan”.
Several of Sinha's books have been published, both in Bangla and in his mother language, Bishnupriya Manipuri. They include “Dekechhilam Jol”, “Bela Diprohor”, “Howa Nahowar Gaan” (poetry), “Chheyathaigir Jadu”, “Nua Kore Chinuri Meyeke” and “Rudrachandra” (an adaptation of Tagore's plays).
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Sinha adapted Tagore's “Debotar Grash” in his mother language Bishnupriya Manipuri. Photo: Manipuri Theatre |
He is a theatre teacher at the Manipuri Fine Arts Academy in Kamolganj. He is also the editor of the journal, Manipuri Theatre, which is published from Maulvibazar.
As recognition of his talent, Sinha got a chance to attend an international workshop in India last year. The workshop was on Tagore plays to commemorate the 150th birth anniversary of the Nobel laureate poet. He received Zakaria Memorial Award (from Theatre) in 2008 and Tanushree Padak (from Natyadhara) in 2011.
For his contribution to Manipuri literature, Sinha received recognitions from the government of Assam, India and Manipuri Research Centre in Bangladesh.
By Jamil Mahmud
Rahul Anand
Actor & Musician
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Rahul Anand's arrival in theatre is synonymous with that of Prachyanat, as he is one of the founder members of the troupe. In the ranks of talented music directors and performers in theatre at present, this young activist-musician has directed music for almost every play that has been produced by Prachyanat so far (except “Kinu Kaharer Thetar” and “Raja…ebong Annanyo”). His compositions and music arrangements range from traditional songs to contemporary urban music.
Like many others, Anand's initiation to theatre was not smooth. In 1991, he was a college student in Sylhet, when he first developed an interest in theatre. He started through Darpan Theatre, a well known troupe in Sylhet.
One incident that influenced him to become a theatre activist was a Bangla Theatre production, “Manush”. He saw the production, where Mamunur Rashid and Azad Abul Kalam were performing. Their performances drew him so intensely that he instantly made up his mind about theatre.
Anand joined Aranyak in 1995. At the time he was a student of the Department of Graphic Design, Institute (now Faculty) of Fine Arts, Dhaka University. In 1997, when Prachyanat was formed, Anand became one of the founder members of the troupe.
Music is obviously necessary for every theatre production. It is as important as acting, light and set design. But not many people do it as well as Anand. His music direction in “Koinna”, which features a number of folk songs [of the Sylhet region], has won wide acclaim. Anand used his orientation in Sylheti folk music for the production. His mother has a great collection of folk songs, from which he used few for the play. Anand is also a regular performer. He has performed in almost every Prachyanat play except “Kinu Kaharer Thetar”.
Though he is a theatre activist, people know him as a musician. According to Anand, he prefers to be treated as a theatre activist. But he confessed that music is always on his mind.
He believes that passion and spontaneity are the main reasons behind his success and says that theatre is not only just performance or acting; rather it is a composite field.
Prachyanat's “Music Ensemble” demonstrates Anand's talents as well. The ensemble, which features songs from different Prachyanat productions, was first staged in 2001. The production is as popular as the troupe's acclaimed plays like “Koinna” and “A Man for All Seasons”. Anand, who conducts the ensemble, should be credited for the unique production. Anand also collects rare musical instruments. He revealed that in future he wants to open a museum featuring his collection of instruments.
By Jamil Mahmud
Sudip Chakroborthy
Theatre Director & Teacher
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Sudip Chakroborthy is a young theatre teacher and activist. Assistant Professor, Department of Theatre, Dhaka University, Sudip is an emerging director as well. He has been working as a guest director with different troupes. His recent directorial works -- “Mahajoner Nao” (a Subachan production), “Phona” (Shabdaboli) and “Lal Jamin” (Shunnon Theatre) -- have been lauded by the critics and audience.
Glimpses of his ingenuity and experimental approach are apparent in these plays. While “Mahajoner Nao” is a biographical play on 'Baul Samrat' Shah Abdul Karim, “Phona” is a bold representation of anomalies inside an army camp. “Lal Jamin” recounts the Liberation War experiences of a woman.
Primarily Sudip wanted to be a writer, but after he enrolled in the theatre department that goal changed. He launched his new mission with more zeal. His passion for theatre, especially direction, grew while he was a student. He has set a great example of dedication for young theatre students and activists.
“Nowadays I find little time to write. I do, however, contemplate new ideas about direction, designing or other aspects of theatre,” said Sudip, who emerged as a teacher in 2006.
“Though Bangladeshi theatre has earned recognition in the global scene, there's still lack of experimental works, and minimal use of technology are barriers to go further,” Sudip said, adding, “We should embrace technology both on and off stage.”
Sudip does not believe that without institutional knowledge theatre practice is impossible. Rather he feels that institutional knowledge can only bolster an individual's creativity. “We have numerous examples of successful theatre directors, actors, technicians and activists, who had no institutional education. Their innate creativity and unflinching dedication to the performing art form drove them to success,” said Sudip.
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Sudip redesigned the Theatre (Bailey Road) classic “Payer Awaj Pawa Jae”. Photo: Theatre |
It is often said that issues related to infrastructure are affecting Bangladeshi theatre. Shortage of venues always remains a much talked about issue among theatre activists. But Sudip said that renovation of the existing auditoriums across the country could solve the problem. Moreover, he believes that the European concept -- “theatre is not possible without proscenium” -- does not hold true.
As a young individual he observes that his fellow activists usually go for big troupes. Moreover, they prefer TV/films to stage because of the lure of money. However, not everyone is after that. “Many young individuals want a solid career in theatre. Some of them are working with utmost sincerity. They need proper supervision and encouragement,” said Sudip.
He also observes that theatre students mainly prefer to join television channels as producers or technicians.
As a teacher, Sudip thinks that students not pursuing careers in theatre are a failure of our education system. “Financial insecurity is the main cause here. Passion and dedication are also important. But most importantly, we need to change our education system. Theatre should be introduced at primary or secondary school level,” said Sudip.
Sudip wants to see theatre students and activists to be up-to-date with technology to conduct impressive experiments. Theoretical knowledge and practical skills regarding oriental and occidental theatre are also needed.
By Jamil Mahmud
Samina Luthfa Nitra
Actor & Playwright
Samina Luthfa Nitra is one of the founding members of BotTala, which was formed in 2008. Before that she worked for Subachan for nearly a decade. At present, she is doing her D.Phil (PhD) in Sociology at the University of Oxford. She is an Assistant Professor (on study leave) at the Department of Sociology, University of Dhaka.
Nitra was born in Mymensingh and lived there until she was 16.
After her SSC in 1992, she moved to Dhaka for studies. She started acting in school and continued throughout school years. She was trained in classical and traditional dance under the guidance of Abdul Kader in Mymensingh.
Nitra performed in BotTala plays -- “Dhamail” and “Khona”. Her Subachan performances include “Rashtro Bonam”, “Khandani Kissa”, “Rupoboti” and another version of “Khona”. She wrote two plays -- “Teerthankar” and “Khona”, and jointly translated “Twelfth Night”.
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Nitra (right) plays the protagonist in BotTala's “Khona”. Photo: Bottala |
In the UK she is involved with a troupe called Theatre Folks. The actress performed in and choreographed Theatre Folks' debut play “Tale of Two Friends”. She is choreographing the troupe's next play “Jamuna”.
Nitra began her journey in theatre through a workshop in 1996. Initially she had to get permission from her parents for the workshop. Now her parents are simultaneously proud and a little annoyed with her continued journey in the “risky” profession of theatre.
Committed activists like her are quite rare in the theatre scenario now. Apart from acting, Nitra also writes plays. Young, talented playwrights are rare; female playwrights, rarer.
She has done some research on indigenous agricultural knowledge, health sector reforms and resistance against the Phulbari Coal Project. Her social science related articles have been published in Bangladesh and UK.
As recognition of her work, Nitra received the Commonwealth Scholar for PhD in UK (2008), Tonusree Natya Padak (2010) and Mahila Parishad Shammanona in Theatre (2009).
She is married to theatre director-actor Mohammad Ali Haider.
By Jamil Mahmud