|
SELF
COMPOSED
| SHILPIR
XAPON (1973) |
| Written
when the dramatist was in 6th grade, this drama shows how reality
destroys the imagination of an artist. |
| PRAYACHITA
(1974)
|
| It
is centered on a man who commits a mistake in his life and how
he wants to rectify it. Repentance is the central theme. |
| BASANTA
PLABAN (1978,1st Fullfledged Play) 1st published 1979, Gana
Sahitya Prakashan, Guwahati |
| A
real story of love, sacrifice, kindness and struggle has been
drawn in this drama. In this male dominated society, how a group
of idealistic Assamese young generation can go ahead bravely -
it is a trial of bringing out the value as a whole. A combination
of human values and social renaissance has been shown here. The
positive attitude of life has been brought out here in this Drama
which was written long time back when he was a college student.
This
Drama has been performed in many platforms of Assam. It is the
first Assamese drama of Bajali which has been written in Bamakhata
near the birthplace of the mobile theatre, Pathsala.
|
| NATUN
PURUSH - 1st published in 1988, GanaSahityaPrakashan, Guwahati |
 |
| To
be blessed by sunshine thousands of workers have spent many days
and nights. The main theme of this Drama is economic inequality,
the oppression and corruption by the rich of the downtrodden.
It is a clear image of a simple life. The Play also exhibits human
culture in a glorious way. It has also included the movements
of new generation in a strong way. Human life has been explained
by the musical background of the farmers and the common masses.
It has been performed thousands of times in many places of Assam
and is well admired.
|
| AGNI
YUGAR KAHINI (1979-80,2nd Fullfledged Play)
|
| It
is a patriotic drama highlighting the Assam Movement in its background.
The main theme of this drama is the youngsters who dedicated their
lives for the sake of Assam, who shed their blood to remove the
indescribable oppression of Assam. What should be the responsibility
of the youngsters and the writer himself for the motherland has
been shown here in a different style. The way from the darkness
to the sunshine has been brought out here in this drama. This
Play has received appreciation on stage many times. |
| ABHIJATRA
(First published 1984, Chaturangam, Guwahati) |
| The
plot of the drama is certain historical sensitivities based on
Assam's education and culture. Centered on the thoughts of a character
called Itihas (History), this play was widely appreciated and
also awarded the Best Script award a lot of times. Itihas, actor,
student, writer and farmer - through these five characters, the
dramatist weaves a story around educational, cultural and economic
problems. |
| KURI
SATIKAR NABAM DASHAK ARU AMI (First published 1984, Chaturangam,
Guwahati) |
| In
this one act play the playwright tries to highlight how power
crazy political leaders not only mislead the common people but
also the educated lot. The intellectuals are actually political
stooges and are corrupting the society. It reflects the sadness
as well as hope of the people through powerful dialogues. |
| AJAGAR
(1986), 1st published 1986 Chaturangam, Guwahati |
| India's
political, social, economic and cultural condition is in shatters
and Assamese condition is all the more pathetic. An unemployed
youth has to sell land and lose everything to get even a small
job. Is there a sorrier situation then this? The exploited youth
rebel and pledge to revolt against the corrupted society.
Theme
of the play is a strong protest against rampant corruption that
has engulfed the whole fabric of our society today. The young
dramatist hashed of all Romantic illusions about the higher
strata of our society and has boldly become face to face with
their utter moral degradation that has gradually swallowed up
the society as a whole like a terrible constrictor (AJAGAR)
swallowed up an innocent frog. As a matter of fact, the whole
social life of the time, economic, political and cultural, is
rotten to the core. To focus on the humanity and gross moral
degeneration of the ruling class, the young Dramatist has created
two sets of characters - the one set comprising Abhijit, Ranjit
and Rimpi represents upper class and the other one comprising
Satyajit and Jibanjit represents the lower strata of society.
While Abhijit, Ranjit and Rimpi form the vicious circle of our
society which is not only very corrupted but very powerful too,
on the other hand, Satyajit and Jibanjitrepresent the exploiting
people who are helpless toys in the hands of their social bosses.
Abhijit is a corrupt businessman, Ranjit, a corrupt politician
and Rimpi a corrupt artist who has poisoned the cultural life
of our society by a blind imitation of the western culture.
The
Play bears a symbolic significance. While Abhijit, Ranjitand
Rimpisymolises the Evil, Satyajit and Jibanjit symbolize the
Good. In other words, while the former class represents the
Death elements of society, the later set represents the life
elements. It is a tragedy of the society when the death elements
predominate. But the message of the play is not pessimistic.
It is highly optimistic. Though the evil elements predominate
in the beginning ultimately they are overpowered by life. (The
Play ends with the killing of the culprit by the united effort
of Satyajit and Jiban). Truth (Satyajit) triumphs in the long
run.
It
is in this sense, the play is a satire, but at the same time,
deeper than a satire. It can be interpreted as a social satire,
representing the eternal conflict between falsehood and truth,
with the former raising power supreme at first but succumbing
to Truth in the end.
The
technique, though new is quite in tune with the spirit of the
play. Nothing is irrelevant; to judge the play in each proper
perspective the spectator must keep a sharp eye and ear on light,
projection, background music, etc. The stage direction must
be considered as an integral part of the Play. This Drama has
been staged in three languages- English, Assamese and Hindi.
Its unique direction and strong dialogues are its USP.
|
| SRIKRISHNA
ARJUN ARU GANDHIV ( 1995) |
| It
is a socio-political drama highlighting how power crazy leaders
exploit the ordinary masses. The resemblance with the epic - Mahabharata
- is uncanny in itself. Innocent Abhimanyus and Arjuns are still
exploited and sacrificed, just that the forms are different. Although
the drama was constructed in 1995, its planning had started ten
years ago. The play portrays society as a decaying entity, with
values and morality in the decline.
The
main spirit of the play is a strong criticism of present political,
social and moral degradation of our society. The playwright
here depicts the Age of Mahabharata which is long gone. But
unfortunately, the ember of Kurukshetra is still burning. The
blind age of Dhritarastra is continuing which had been introduced
at that time. This realisation and perception is the basis of
this play. Nayaka (Conscience) who may be compared with Srikrishna
raise the problem and he establishes the relation with the past,
present and future events. Sibananda is the newly elected Chief
Minister who tries to establish peace and harmony by manipulating
people and distributing money. The play talks about how intelligenceand
individuals of prodigious merit have successively been bought
over by 'gifts' and awards. Jayanta (son of Chief minister)
and Anup( who is the reflection of Sakuni)are the two right
hands of the chief minister. Vikram Singh is the leader of criminals
and a Don of drug world. He has a close relation with the Govt
.Vikram Singh killed his faithful assistant Ismile .Ismile is
the only son of a village woman Zerina. Basir is the friend
of Zerina. Basis always expresses his sympathy and he tries
to help Zerina. Basir and Zerina thinks that only Allah (God)
can save them and remove their miseries. Kanchan is a young
revolutionary journalist. She exposes and writes articles against
powerful people like the chief minister, corrupt politicians,
educationists and soon. One day Jayana offers a large amount
of money to Kanchan, because Jayanta knows that Kanchan may
publish various kinds of documents against their Govt. But Kanchan
does not agree. Infuriated Jayanta rapes and then kills Kanchan.
Manoranjan Choudhary is the last representative of value-based
journalism. He became a lunatic because he had been badly affected
and victimised by the established ruling class.
Nabin,
the representative of new generation was an active member of a
terrorist organisation, of which he has become disillusioned with.
Much like Arjuna in the battle field of Kurushetra, Nabin is also
frustrated in the present battlefield of human civilization. So
Nayaka (Conscience) advises and enlightens him. At last, Nabin
gets the light of knowledge and he takes his unconquerable Gandhiv
with slight modification. Because Nabin thinks that Arjuna's Gandhiv
introduces bloodshed, he considers the strength of his Gandhiv
to be the mass of the common people through whom peace, harmony
and integrity can be attained. |
| DROUPADI
(1996), 1st Published 1998 |
The
Main spirit of the play is educative and a strong criticism
of present moral degradation of our society. The playwright
depicts here due to the lack of the proper spread of education
how the large number of people get badly victimised by the corrupt
politicians. Droupadi is a young brilliant girl of a backward
village. She has been trying to spread the light of education
in her village. She established an Assamese medium primary School
in her village. She thought that her backward native village
is like a University here she can do her best work. The villagers
were so much inspired and influenced by her selfless social
service. Naron a brilliant graduate revolutionary boy who joints
in a terrorist organization for frustration falls in love with
Droupadi. But they believe two different paths for social change
and progress. Ananta Choudhury is a politician. He established
an English medium School at the city. He invited Droupadi to
joint her as principal in his School. But Droupadi rejected
his proposals.
At
the time of general election of Assembly the terrorists killed
him. The police arrested the old father of Droupadi, who subsequently
dies. The police published this fact in a different way. They
declare it is a case of suicide. The young generation could
not accept this. Then they try to gherao the police station
under the guidance of Droupadi.
To
focus on the humanity and gross moral degradation of the ruling
class of society the dramatist has created two sets of characters
the one set comprising Ananta Choudhury, Kamala, Mohmohan,
Police Officer etc. represents the evil side of human society
and the other one comprising Droupadi, Harinath, Gagan, Mahesh,
MohendraSarma, Suvadra, Naren represents the good side of
our society.
|
|
TARALIR
AKASH (1998)
|
| This
play is based on novelist Rita Chowdhury's story "Tai Tetiya
Xare Asil." Minister Amar Barua is a corrupt man and his
daughter from an illicit affair, Tarali is the person who tries
to uncover his real character in front of the masses. To cover
up his crimes and misdeeds, Barua bribes Dr. Pradipta and tries
to prove that Tarali is a mentally challenged person, in the process
undermining her claims. However, Dr. Samiran comes across as a
person who does not sell his integrity to support Barua and therefore
resigns from his job. This play raises the question that will
Tarali's misfortune end if Samiran resigns? Whose duty is it to
ensure that she is delivered justice? |
| AGASTI
YATRA (1998) |
| It
is performed as a telefilm in Guwahati Doordarshan. Absolute freedom
can bring some unexpected storm to the society, how it can destroy
a family, how a newborn child can be kidnapped for the bad intention
of the persons wife and the person who forgets his own work and
family and spends his whole day and night for the society, and
as a result who losses his everything, the colour of his life
drills, becomes a mirage. The AgastiJatra do the psychological
reflection of this situation. |
| SHILALIPI
(1998) |
| This
Play is full of heart-jerking stories in the background of war.
It has been performed in mobile theatre in an uncommon way. The
story of Hriday who has lost everything for war and the problems
faced by his newly married wife for not having money with him,
have come out very distinctly in its dialogue, character and situation.
This drama was recognized as the strongest drama that was staged
in Pallabi Theatre in that year. |
| NARAK-KUNDA
(1999) |
| It
is a different and strong play written for mobile Theatre. It
is a story of a violent husband, showing women's suppression,
by his evil spirit, torture, etc. This Drama is full of strong
stories where every scene was terrific. Murder, terror and domination
can never be a moral ideal for a family. Without kindness and
love a family cannot be called a family. If in a family there
is no love and respect for each other, though they may have money
or property that family becomes like hell. A worthy son of the
new generation leaves this hell and goes ahead to find a ray of
happiness. |
| BISHAKTA
PRITHIBI (1999) |
| This
play shows how due to environmental pollution, lives are getting
destroyed. |
| MAHAVIR
LACHIT (1999) |
| It
has been more than 260 years since the Saraighat war. Lachit Barphukan,
Chakradhwaj Singha and Aurangzeb are all dead. But the relevance
of Barphukan is still very much present. The greed, selfishness
and manipulation of Aurangzeb is manifested even in today's society.
Assam is still suffering from an identity crisis; people are suffering
because of both national and international reasons. Therefore
it is very pertinent to ask whether Lachit Barphukan's sacrifices
have been valued by us or not. Why have we not been able to give
him the same recognition that others like Shivaji and Ranapratap
have claimed? After all, he was a person who fought his heart
out for Assam's survival. It is in this context that his sword
and the values it stood for find significance in today's context.
We need his patriotism and courage to fight the ills that have
captivated Assam. |
| KALNAG
(1999) |
| Written
in 1999, this play depicts the calamities brought about by the
twentieth century virus called HIV AIDS. |
| KALNAG
(Street Play) |
| At
present time Terrorism is one of the fundamental problems of India.
People of India have been facing different kinds of terror. Numbers
of terrorist organizations have emerged and these organizations
attempt to kill innocent people to attract their attention. As
a result common people suffer tremendously from their brutal activities.
Right thinking man and woman should always condemn and protest
against such type of inhuman activities. In this street play an
attempt has been made to highlight these type of tragic incidents
and at the end of the play all the dramatic characters call for
creating social awareness to eradicate this problem of India.
|
| ATANKA(Street
Play) |
| The
playwright here depicts the socio-political situation of Assam.
Due to political power and to control the terrorists who have
already badly impacted our socio-political life, the then Govt.
of India imposed Army and para-military forces. People have been
facing seriously indescribable sufferings and agony by the atrocities
of the Army and Para-military forces in the name of capturing
terrorists. Ajali is a young girl. Her elder brother Haren is
a terrorist who left his home before seven years. Some Army personals
along with a surrendered extremist came to their home to capture
Haren. They asked Ajali: Where is Haren? Ajali replied that she
also did not know about Haren. Then the angry Army personals tortured
Ajali and her old mother (Nirupoma). Ultimately the Army personals
kill Haren.
Most
political parties try to capture political power by any means.
Here the minister uses the extremist who have surrendered for
his own political interest. He has no time even to visit his
own constituency. At the end of his tenure i.e. before the upcoming
elections, the minister came to deliver a public speech in his
constituency. There was a rally that protested against the atrocities
of Military and Para-military forces. Here the playwright introduces
Oja Pali Party (local choral dance and song) as a style for
presentation in the theme of the play. At the end of the play,
he tries to sensitize the people through the Choral dance and
song.
|
| CHINHAYATRA
(1999) |
| Mahapurush
Srimanta Sankardeva had performed a unique play; Chinhayatra in
1495 A.D. Chinhayatra may be regarded as the preamble to regular
Assamese drama, stage, music and acting. It must also be the first
work of its kind in the whole range of Modern Indo-Aryan languages.
We know that in England 'The Theatre' was started in 1576. Thus
in a way the first Assamese drama and stage seem to precede the
English drama and stage by a hundred years. 'Chinhayatra' was
a synthesis of all forms of performing and other art forms.
Unfortunately,
this first play of India in the regional languages is lost but
we only know about the theme of the performance from the charitkaras
(Biographers) and 'The Katha Guru Charit'. Ramcharan and other
biographers give details of the composition of the songs and
verses and distribution of other matters of the drama. In this
peculiar art form, Sankardeva arranged a show of the seven heavens
(Saptavaikuntha), the wish yielding tree (KalpataruBrikha),
etc. Persons necessary, for the performances, namely, the musicians
(Bayans), the assistants (Palis), and the dancers (Natuas) were
made ready. The marks, the effigies, the Pandal (Rabha) and
all other necessary stage accessories were also prepared. A
decorated Curtain (Aar Kapor) was hung. Sankardeva himself began
singing in the Raga called Baymuandal. Two Gayans started singing
in the Timir Raga. Another person played the Bardhemali and
Ghisadhemali. A big light called Mahata or Mata was lit. From
the description of the performance as given by the biographers,
it can definitely be asserted that it was a performance represented
in the exhibition of some Marks, Pictures, or Songs. There was
a painting on a piece of cloth.
After
a long research, Dr. J. Patgiri on the basis of this unique
rare art form rebuilds with experiment, innovation and modern
interpretation this fundamental work and this has been highly
welcomed by a galaxy of renowned scholars like Dr. Indira Goswami,
(Late Mamoni Raysom Goswami, Ex. Head of the Deptt. of Modern
Indian languages and literary studies, University of Delhi),
Dr. P.C. Bhattacharya, Dr. Lakshminandan Bora, Dr. D. Pathak,
Dr. R. Pathak, Dr. N. P. Choudhury, Dr. P.C. Das, Ram Goswami
and many others.
It
should also be mentioned that after the performances (1495 A.D.)
of Chihnayatra, Assamese Culture and Assamese nation stood on
a new era. Chihnayatra is the starting point of Assamese drama,
music, acting, dancing, painting, architecture, sculpture and
a type of renaissance (Bhakti Movement) of Assam.
This
modern chinhayatra was first played in Manalisa Theatre (1999).
According to Mamoni Raysom Goswami, Dr. Patgiri's Chinhayatra,
will be a milestone in the history of Assamese literature and
Modern Theatre movement.
|
| Jivan
Aru Jigyasa (2005) |
 |
| Natya
Kala Deshe Deshe (2005) |
 |
| Natya
Aru Chetana (2005) |
 |
UNDER
PUBLICATION
|
Dr.
Jagadish Patgirir Nirvasitta Sambhar
Ekhan
Akash Alekh Tara (collection of Dance Dramas)
Kalantar
(Novel)
The
Philosophical Tradition of Assam
Folklore
& Folklife as reflected through the Modern Assamese Social
Drama
Thinking
and Reasoning
|
EDITED
BOOKS:
|
Adhunik
Asomiya Natya Sambhar (2005)
Adhunik Asamiya Natya Sambhar, a compilation of Modern Assamese
Plays written by noted dramatists of the State of Assam. The
collection consists of 30 dramas, which are already performed
by several amateur theatre groups throughout the State. Most
of the plays reflect Assamese society, its culture and current
problems. The Assam Sahitya Sabha, the apex body of literature
and culture of the State of Assam, published these plays as
the best dramas of the modern Assamese theatre. It is a remarkable
contribution to the Indian Literature
|
 |
| Natakar
Byabaharik Dish (2005) |
| Asom
Sahitya Sabhar Ajiban Sabhya (2005) |
 |
| Asom
Anchalor Janajatiya Sadhukathaa :Upadan Aru Adhyan(2005) |
 |
| Purbanchalor
Bhasa Sahitya Aru Sanskriti (2006) |
 |
| Bihuram
Boror Byaktitya Aru Prativa (1995) |
|
| Dr.
Jogen Bayanar Rachanasambhar (2011) |
 |
|
