All about give happiness and donating life and longevity
Jadupati a common man or can be considered or regarded as an exceptional soul? He becomes distracted with profound mental sore with pain and distress of other people and takes manifold steps to amctiorate their grief and these appear to be miracles to them.
Now and then Jadupati begins to reflect about the little children of his country and about those of others living in other countries, who in malnutrition due to starvation. His mind aches and seeps of them. Now, he declares abruptly that he will resort to his own-life donating step. He takes such example from the history of mankind. He announces his own idea the newspapers.Thus begins……..his donation of life-span.
A doctor who was in an lunatic asylum came to him and requested him to lunate life-span to child who was in a state of comma for last six months. Jadupati scurried to reach there while the helpless parents of the child with their throbbing hearts waited for him.
Jadupati sat beside the head of the ailing child and caressed the child’s head with profound emotion. The sick child slowly opened eyes sand the expectant parents burst out calling, our child has came to life, has opened his eyes with bated breath. Jadpati stood as the doorway, his hands on his chest, shaking.
Surprisingly, the child breathed his fat the next moment and more surprisingly Jadupati also was last and of sight. The Police and searching parties were on look out for him.
At last the doctor of the lunatic asylum appeared with Jadupati beside….Jadupati explained the significance “donating longevity”
কলকাতার আনাচে কানাচে এখনো লুকিয়ে আছে পুরোনো পুরোনো গন্ধ আর কিছু ফেলে আসা বন্ধুত্ব । এই নাটকও সেই পুরোনো কলকাতার বন্ধুত্ব প্রেম আর তার সাথে জড়িয়ে থাকা মান অভিমান রাজনীতি পারিপার্শ্বিক উত্থান পতনের কাহিনি । দক্ষিণ কলকাতার কলোনি পাড়ার ৪ বন্ধু সোমা, টুবাই, বুবান এবং তাতিন ।
৯০-এর দশকে তাদের বেড়ে ওঠা। কলোনির আন্তরিকতা, প্রতিটা পরিবারের একসাথে মিলেমিশে দিন যাপন , বিপদে আপদে পাশে থাকার শিক্ষায় তারা শিক্ষিত ।
সময় এগোতে থাকে বড় হয়ে ওঠার সাথে সাথে তাদের মানা-না মানা, বিশ্বাস-অবিশ্বাস, রাজনৈতিক, সামাজিক মতাদর্শ যেন দূরে ঠেলতে শুরু করে ছোটবেলার বন্ধুদের একে অপরের থেকে। শেষে আবার কোনো এক পাড়ার চায়ের দোকানে এক হতে পারবে তারা? নাকি যে জানলাগুলোর আকাশ ছিলো, তাদের পাল্লা গুলো চিরতরে বন্ধই থেকে যাবে?
A city steeped in nostalgia and matured in the heritage of poetry and revolution, our play has its inception in its street corners. A tale which is inseminated in the heady brew of friendship, romance, heartbreaks, and the political ebbs and flows, the magical amniotic fluid that is our Calcutta.
Our story sets off in the 90s,in the southern corner of The City. A narrative that pivots around four friends; Soma, Tubai, Buban and Tatin. Their growing up, their dreams, beliefs and aspirations. How they evolve through the adventures revolving around their intertwined lives in the colony they lived in. How time in its ruthlessness, and how, the development of their own political and moral ideologies put their friendship to test.
Will they be able to come together as one again, meet at the same old haunts where they once left each other. Will they be able to open those windows again; the ones that gave them the access to wide blue yonder.
“ভুল রাস্তা” নাটকটি কথকতার ভঙ্গীতে রূপকথার মোড়কে,আধুনিক সামাজিক ও রাজনৈতিক বয়ান।
শ্রদ্ধেয় বাদল সরকার “পাণ্ডবনী” লোকনাট্য দেখে এই নাটক লেখার তাগিদ অনুভব করেন। নাটকে কথক রাজা রানীর গল্প বলতে শুরু করে কারণ সাধারণ প্রজাদের গল্প লেখা হয় না। ইতিহাসে কোথাও সাধারণ মানুষের নাম নেই। রাজার পুত্র রাজকুমার জঙ্গলে যায় মায়ের জন্য জীবনদায়ী ওষুধ আনতে। মন্ত্রী,কোতোয়াল,সৈন্য সামন্ত প্রচুর লোক সঙ্গে যায়…. কিন্তু রাজার ছেলে রাস্তা হারিয়ে জঙ্গলে একা ঘুরে মরে..সে বাড়ির রাস্তা খুঁজে পায় না…জঙ্গলে দেখা হয় এক কাঠুরিয়া বালকের সঙ্গে, যে তাকে খাবার খাইয়ে বাঁচার হদিশ দেয়,তার বন্ধু হয়ে ওঠে। তারপর..
নাটক জুড়ে দুটি রাস্তার কথা বলা আছে- একটা “ভাই” বা “দোস্ত” বলবার রাস্তা, আরেকটি “লাথ” মারবার রাস্তা। নাটককার বাদল সরকার কথকের মাধ্যমে দর্শকের কাছে এই প্রশ্নটি তুলে ধরেন যে জীবনে চলার পথে কোনটা “ঠিক” আর কোনটা “ভুল” রাস্তা?? বাবুমশাই,বঢ়ে মিঞা,মা লছমী ভাই..বিচার আপনাদের হাতে…
শিবপ্রসাদ মুখোপাধ্যায় ও সুজন মুখোপাধ্যায় -এই দুই অভিনেতা নাচ,গান, হাসি-ঠাট্টা সহযোগে গল্পটি আপনাদের সামনে তুলে ধরবেন সামাজিক বৈষম্যের চিত্র স্বরূপ।
শেষ অভিনয়….
গিরগিটি
No customers within sight throughout the day ! The dejected hawkers pounce upon a soft and easy customer-a kid, who is nonetheless a brat. He gobbles bananas, ice cream, munchies, and what not ! And, finally, he confesses with a charming smile-he is penniless.
The livid hawkers hand him over to a policeman and the policeman delights in the prospect of bullying a kid. At this moment, a passerby informs that the kid is the loving son of the Police Commissioner. The information turns the tables immediately. Now, the policeman hankers to flatter the kid in various ways.
It is discriminatory custom of society to judge a person by his or her social status.In his short story, Anton Chekhov revealed this anomaly in a humorous tone. However, his protagonist of the story was a puppy. Safdar Hashmi, in his dramatic adaption, replaced the puppy with a kid which heightened the theatrical possibilities.
Fifteen years old girl, Jhupni starts telling story of a village fair where her grandfather cooks the food which is offered to the God. Her grandfather gives the details history of the fair where fish is sold and fish curry is offered to God.
In the fair the Bengal folk song ‘Kirtan’ is sung but eating the food Pradip, a leader of village folk feels sick and remember why this is happening and asks the cook to bring Labanya whose cooked food can remove Pradip’s illness.
The two story tellers Muri and Batasa narrate how long ago a girl Labanya was born in a Bengali family who cooked mysterious food that helped everyone to speak the truth. And it’s turned into a mysterious play and revealed everything which was hide from long time.
Haradhan’s life flows just like the water of a river—dynamic and ever-changing. The backdrop of his life shifts repeatedly. The young boy, lost at a chariot festival (Rother Mela), steps into a new life under the refuge of a “Master” (Kortababu) after losing the company of his own kin.
Later, that same Master imparts the ultimate philosophy of life to him: to stop being a lifelong servant to others and instead learn the lesson of self-reliance. But there is a saying: “Living on the riverbank means fearing the crocodile.” To sustain a homeless, wandering life, he embraces the lush, vibrant green of the trees.
Into Haradhan’s life, amidst the clay and soil, enters the colorful, sweet essence of human emotion.Eventually, through his connection with a local,a villager, whom Hara used to call ‘Messo’ came along with Padma Rani—a relative of him arrives to visit his lush green magical garden.
The ultimate magic makes its place instantly…What does Haradhan see in Padma’s eyes…?
Purba Paschim—the noted repertory theatre group known for its commitment to meaningful and creative stage productions—presents its new theatrical venture, inspired by the life, times, and poetic spirit of Shakti Chattopadhyay.
This production journeys through the vibrant, restless era that shaped one of Bengal’s most powerful poetic voices, bringing alive Shakti’s world—his poetry, his friends, his loves, his anguish, and the bohemian camaraderie he shared with contemporaries like Sunil Gangopadhyay, Tarapada Roy, and others who defined an unforgettable literary generation.
Written by Ujjwal Chattopadhyay , the play captures the pulse of an age when words were rebellion and poetry was life itself. The stage design and direction by Debshish Roy weave together the lyrical, the dramatic, and the deeply human to create an immersive experience that celebrates both the man and the myth of Shakti.
Featuring the acclaimed Debshankar Halder in the central role, this production promises to be a rare meeting of theatre and poetry—where the rhythm of verse merges with the heartbeat of performance. Debshankar is supported by Soumitra Mitra Partha Bhowmick and a group of energetic actors of Purba Paschim
Join us as we celebrate the eternal Shakti—his fire, his tenderness, and his truth
It is a hilarious and farcical exploration of hypocrisy and marital infidelity. The play’s central premise revolves around a burglar who finds himself in an absurd and increasingly complicated situation.
The story begins with a burglar breaking into an apartment. However, his plans for a simple robbery are immediately complicated when he discovers he’s not alone, but to face with two sets of cheating partners. He is forced to act as a go-between and a peacemaker, attempting to keep the multiple affairs a secret from the husband.
The play’s humour comes from the burglar’s moral dilemma and his attempts to navigate the tangled web of lies. He is an outsider who, by a strange twist of fate, becomes the moral compass of the household, even as he is committing a crime.
