The planning of forty-two essays by the editor Arnab Saha in Bratya Abikalpo Natyapurush is so precise that even for an initiated reader curiosity runs high. Bratya Basu’s theatrical motivation is righteousness and protecting the weak, innocent and marginalised.
Contemporary global playwrights capitalise historical, political, mythological and ecological settings as part of their aesthetic approaches making powerful theatrical use of the past in the purview of the present situations. We may mention some of them in the global scene who use these techniques to the maximum; Lucy Kirkwood, a British playwright; Cordelia Lynn, a London-based playwright and Samuel Adamson, an Adelaide-born Australian playwright now anchored in London. Contemporary socially committed playwrights explore the cultural impact of theatre, the use of various performance spaces, and the task of theatre in shaping communities and narratives of the state. The planning of forty-two essays by the editor Arnab Saha in Bratya Abikalpo Natyapurush is so precise that even for an initiated reader curiosity runs high. Bratya Basu’s theatrical motivation is righteousness and protecting the weak, innocent and marginalised.
An academic trained in Bengali aesthetics for theatre, Bratya Basu’s writings focus on emerging political fantasy, fuzzy tales of history, human- non human relationships, the interface between music and gross human life, ethical aspects of life and fall of ethical standards, the dissension between love and riot, moral and immoral principles and the crossing over between time and cultural ethos. Coupling with the critically incisive eye of an academic with the emotive directness of a dramatist, the volume’s essays provide wonderful introductions to the works reviewed by esteemed academicians and writers.
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Bratya Basu announced his arrival as a dramatist with the play Ashaleen (1996) and immediately he caught the attention of Bengali theatre goers. Bengali intelligentsia liked his themes close to hearts and style for a delightful theatrical experience. Bratya Basu’s significant plays include Aranyadeb, Shahar Yaar, Virus-M, Winkle-Twinkle, etc. His other important plays are, Ruddhasangeet, Chatushkon, Hemlat – the Prince of Garanhata, Krishna Gahobar, Sateroi July, Bikele Bhorer Sorshey Phool, Supari Killer, Boma etc. The list may go on and on. In some plays, we trace Shavian ( after G. B. Shaw) energy and iconoclasm for changing society for good. A compilation of his plays has been published in four volumes in 2004, 2010, 2016 and 2022 respectively. Noted for his sincerity, wide knowledge of theatres of the world and avant-garde zeal, Bratya Basu has created his own stretch in contemporary Bangla theatre by moving beyond its existing horizons and embracing topical iconoclasm. He is the actor who needs to be challenged with diverse roles in different contexts, carefree and easy. Bratya Basu does that with facility. He formed the theatre group Kalindi Bratyajan in 2008 for cultural change through performances. Bratyajon marked its glorious beginning with Ruddhasangeet (2009). Bratya Basu gives his personal light and contemporary status of his theatre group in the conversation at the beginning. Interview by editor Arnab Saha and Rajib Bardhan, Director of Jadavpur Manthan is a help to estimate Bratya Basu, the man and his art. Girish Karnad’s Tughlaq to Bratya Basu’s Mir Jafar is a long walk to freedom on stage; military/social prowess and extensive emotional purgation.
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The evolution of mythology, narratives of heroes (and antiheroes) and history reflects a deeper shift in how humanity understands the past and creates materials for dramatic and filmy adaptation and interpretation. Dark corridors of history seek to uncover past facts, mythology continues to formulate cultural consciousness, and together, mythology and history serve as mirrors of human experiences. Some of Bratya Basu’s plays help us navigate our lived moments; through facts and imagination. Bratya Abikalpo Natyapurush competently edited by Arnab Saha highlights how myths, history and heroic tales exist on a continuum of human storytelling and the eloquent style of Bratya Basu’s writings/directions for stage performances and beyond. This book is rich with numerous essays written by persons from different backgrounds, covering a range of themes from the idea of home/society/individual, sexuality and the inherent struggle to the personal stories of the community and the history. Language for the veteran dramatist is a queer and stock thing; bluntly topical yet aesthetically subtle. Sahitya Akademi award-winning poet Subodh Sarkar’s article is on his impressions as both of them shared the same staff room for years discussing paradigms of literature and world society, personal and academic. The essayist recalls Sunil Gangopadhya’s predictions regarding the adept talents of Bratya Basu. He also remembers Brtaya Basu’s indomitable spirit, “More I shall be defeated, more I shall be spirited.” Subodh Sarkar says, “Past is a table in Bratya’s plays. History is a typewriter. Date is a flower vase.” The editor’s in-depth interview with Bratya Basu maps history, time, space, relations, theatre and his personal domains where even what he thinks about a Sunday is discussed with care. The interview explores random discussions on Group Theatre. By referring to Mary Theatre and the company theatre the editor reminds us of Antonin Artaud, a major figure in the 20th-century theatre. The book discusses how Bratya Basu’s vision of theatre aimed to release human instincts and challenge societal repressions. Hamlet: Prince of Garanhata is an explorative wonder where Bratya Basu used themes from William Shakespeare and made mastery over them. His Krishna Gohobor is a science fantasy blended with images and impressions from contemporary society. Atanu Sarkar’s essay maps the contexts of the play Bhoy through political crossing over. Shubhankar is like any other man in our contemporary society. Fear has dramatic significance on the physical, social and even cosmic dangers imprinted on the audience. The essay highlights Bratya Basu’s skilful presentation of fear through life-like characters with which the audience can self-project on stage.
Bratya Basu’s theatre is a way to free individuals from social constraints and unleashes their inner energies by the use of gestures, sounds and visual elements. Mainak Bandyapadhayay describes how Bratya Basu is sincere and particular about the costume, voice, position and gestures of characters. The author refers to the English film and theatre director Peter Stephen Brook for stage precision. Samrat Sengupta emphasises the nonlinear progression of thoughts and schemes in Bratya Basu’s plays. Samrat goes deep into postmodern theoretical foundations and examines Bhoy and Krishnagahbor in detail. Noted Puran specialist Nrisingha Prasad Bhaduri maps Bratya’s creative canvas in the light of a ‘power-intellectual’. The essayist makes his take on Bratya Basu clear by explaining different types of intellectuals in relation to the application of creative aroma and sustaining it for a long time. The artist is an inspired genius; the power of the artist is immediate and immanent. Bratya does things ably and intellectually. A professor of history, Kaushiki Dasgupta’s well-researched essay places Bratya Basu’s works in an impressive and interactive theatrical experience, blurring the lines between the alert audience and performer(s). Many of Bratya’s plays inspire contemporary theatre practitioners who seek to create visceral and innovative theatrical experiences in vernaculars.
Some essays deal with multifaceted artist Bratya Basu as a film director like – Raasta which has a theme of youth moving into violent coercion. Teesta is a film based on the forlornness in role relations and the unpredictability of love and romance in life. Bratya acted in many films which include Kaalbela, Icchey, Sthaniyo Sambad, Hemlock Society, Dhulobali Katha, Muktodhara, Double Feluda, Baranda, Jogajog, Kalkijug, Asamapta, etc and won many heads and hearts while watching the stories unfold.
Pradipta Mukherjee and Pinaki Roy showcase how Bratya Basu makes his own standard/brand in directing contemporary Bengali films and theatres with a different gharana incorporating unique storylines and style. A couple of essays in this book make an inroad into style involving actors directly addressing the audience, creating a more personal and intimate connection. While the reader’s right to interpret texts certainly remains indisputable, the interest sustained by heart-picking ideas/lines/sentiments from the text’s organic body arouses our hunger for more. The sagacious critic in Arnab Saha, with an eye for detail, draws our attention to the metaphors/semantics/meanings/
The writer is a seasoned academician, poet, translator and principal, New Alipore College, Kolkata. He is currently the president of Guild of Indian English Writers, Editors and Critics (GIEWEC)
Spotlight
Bratya: Abikalpa Natyapurush
Edited by Arnab Saha
Udar Akash, 1 May 2025
Rs. 599, 416 pages
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