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THEATRE |
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AGUNMUKHO |
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| Play |
Marius
von Mayenburg |
| Bengali
Adaptation |
Bratya
Basu |
| Direction |
Suman
Mukhopadhyay |
| First
performed |
March
2, 2007 |
| Production |
Tritiyo
Sutra and Max Mueller Bhavan |
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RAKTAKARABI |
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| Play |
Rabindranath
Tagore |
| Design,
Editing and Direction |
Suman
Mukhopadhyay |
| First
performed |
August
5, 2006 |
| Production |
Tritiyo
Sutra Performance Company |
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About the play
Rakta
Karabi'(Red Oleanders) depicts the conflict between
mechanization and the free human spirit. It is a critique
of the ideology of regimentation and exploitation of
technology that leads to dehumanization. In such a world,
free life does not exist. Nandini is a representation of
undying love. Love and life assert through death and
recreate themselves once again. It is play about the
suffering and hope of our times. More...
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KANGAL
MALSAT |
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| Novel |
Nabarun
Bhattacharya |
| Adaptation
and Direction |
Suman
Mukhopadhyay |
| First
performed |
February,
2006 |
| Production |
Tritiyo
Sutra & Chetana |
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About the play
Fataru
- Flying human beings
Choktar - Black Magic sect
Vodi Sarkar and his chief associate
Sarkhel surreptitiously dig a hole by the Old Ganges
River. They are looking for a huge resource of oil in the
underground of Calcutta as predicted by the Soviet
academician Kalinin (!!!!!!). Vodi, the head of Choktars,
initiates a total war against the Government of West
Bengal. Fatarus join hands with Choktars. Vodi's father
Dandabayas (primordial talking crow) and Begum Johnson (a
contemporary of Charnock and Hastings) supervises the
historic insurrection of Fatarus and Choktars.More...
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MAN OF THE
HEART |
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| Play |
Sudipto
Chatterjee |
| Design
and Direction |
Suman
Mukhopadhyay |
| First
performed |
September,
2005 |
| Production |
Theatre
& Performance Studies Department, UC Berkeley,
USA |
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About the play
Man
of the Heart is an original multi-media solo-performance
on the life and times of Lalon Phokir, the Sufi-Baul
minstrel from nineteenth century Bengal, who has come to
symbolize inter-faith and communal harmony. But this
production is no simplistic attempt to tell Lalon's story
through a flat biographic narrative that can at best be a
partial telling. Nor is it a dry, fact-based documentary.
Man of the Heart pushes the boundaries of normative
theatrical practice in its attempt to present Lalon as a
translucent lens to both look-at and look-through by means
of a multi-media performance, filled with song and dance
that invites the audience to both empathize and analyze. More...
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NAGAMANDALA |
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| Play |
Girish
Karnad |
| Direction |
Suman
Mukhopadhyay |
| First
performed |
November,
2005 |
| Production |
Department
of Theatre and Films, Kalamazoo College, USA |
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About the play
The
play Nagamandala is a folk story adapted by one of the
most important playwrights of the post-colonial India.
Women of the family narrate these folk stories to the
children while they are being put to bed. Though directed
to the children, they often served as a corresponding
interaction among the women themselves. These stories work
as a counterpoint to the patriarchal compositions of the
society. More...
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MEPHISTO |
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| Novel |
Klaus
Mann |
| Adaptation |
Arianne
Mnouchkine, Istvan Szabo |
| Translation
and Direction |
Suman
Mukhopadhyay |
| First
performed |
May
21, 2002 |
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About the play
Hendrik Hofgen wants to be the best
actor in Germany. To be in Berlin becomes and obsession
with him. With the advent of the Nazis to power Hendrik
forgets his communist background and his erstwhile
friends. His portrayal of Mephisto makes him famous. He
starts mingling among high-ups in the German government.
He is also bestowed the highest office in the German State
Theatre. Hofgen reaches the pinnacle of fame. More...
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TEESTA
PAARER BRITTANTO (Story of the banks of river Teesta) |
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| Novel |
Debesh
Roy |
| Play
and Direction |
Suman
Mukhopadhyay |
| First
performed |
June
4, 2000 |
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About the play
Suhas
has come to the banks of Teesta as a settlement officer
for Operation Barga. Once upon a time he had joined the
Naxalbari movement, now he is a bureaucrat, a government
official; once he had dreamt of a total peasant revolution
and today he is participating in a project of land
reforms. During land survey peasants and workers assemble
around Suhas and he notes in that crowd too an elusive
entity named Bagharu is present. Suhas ponders, map
between his teeth, who is this, map-like man? Suhas feels
Bagharu doesn't belong there, in fact, he is too much of a
misfit to belong anywhere. More...
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GANTABYA
(The destination) |
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| Play |
Rod
Langley |
| Translation
and Direction |
Suman
Mukhopadhyay |
| First
performed |
February
10, 1997 |
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About the play
The
hero in any age is one who carries out with a surpassing
degree of devotion, determination, courage and skill the
main tasks with which his times challenge every man. Today
these tasks are world-wide and the contemporary hero -
whether he works at home or in a foreign land - is a world
hero, not only in historical retrospect but now. More...
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FALGUNI: THE
PRELUDE (The cycle of spring) |
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| Based
on the 'Prelude' of Rabindranath Tagore's play
FALGUNI. |
| Direction |
Suman
Mukhopadhyay |
| First
performed |
December
31, 2002 |
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About the play
The King gets depressed noticing two
gray hairs on his side locks. He interpreted it as a call
of death. He withdraws all his kingly activities and
summons the holy guru to console him with spiritual
knowledge. The guru immerses the King in spiritual tide.
Finally, the court poet comes and rescued the King away of
his depressed state. The poet sings the song of life and
its continuous flow. The King gets new illuminations. More...
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JOURNEY
WITH RANG NUMBER (A journey with colors) |
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| Painting |
Hiran
Mitra |
| Direction |
Suman
Mukhopadhyay |
| First
performed |
November
25, 2002 |
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About the play
It is an exploratory piece with the
paintings and sculptures of Hiran Mitra and the actors of
Chetana. The 15 minutes long piece seeks to explore the
possibilities of creating imageries and visual metaphors
while the actors interact with the painted canvases
through their movements and bodily gestures. Traditional
and contemporary body signs are intermingled with
predominantly black and white paintings. Paintings were
used in different modes. Sometimes as extension of body;
sometimes as visual metaphors of actor's emotions;
sometimes as simple properties only. More...
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KALANTOK
LAL FITA (The Deadly Red Tape) |
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| Based
on a short story by Sibram Chakraborty |
| Play |
Bratya
Basu |
| Design,
Editing and Direction |
Suman
Mukhopadhyay |
| First
performed |
January
1, 2002 |
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About the play
Warren Hastings, the Governer General
of East India Company, had a business deal with Babu
Balaram Pathak in the year 1777. The deal was to supply
1000 lambs to the troops of the Company during the war
with Tipu Sultan in Mysore. The British army lost, the
lamb flocks got scattered. Baburam raised a bill for his
delivery. The file got stuck in bureaucratic red tape.
Since then, seven generations of Balaram's heirs died out
of despair in their vain attempt to retrieve the money.
The payment was irretrievable from the confines of
official red tape. The writer Sibram Chakrabarty, being
one of the descendants, started his search to reclaim the
money in independent India, present India. He faces the
same predicament of his ancestors. He ran from post to
pillar. Finally, he committed suicide out of hopelessness.
More...
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