Sunday, April 14, 2024

Our Amals

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The stage play had everything it needed the dramatic plot and the challenge of the era combined with the dramathe acting the songs the poetry the layers of narration all held the audiences attention for an entire hour But what I felt more is described in the story of the play

In the long journey of the human race, while walking in the bosom of nature, when did people get used to using capital and technology, and when did they submit themselves to the hands of that capital and technology, that is a different debate; But, it is not possible to avoid him, as a result, as in the era of Kalidasa, in the era of Rabindranath, there is talk of breaking the stalemate again and again. In the dream of breaking the immobility, the poet has to take refuge in the imagination, in that imaginary world, the poet seeks a liberating horizon for the child; Hey poet!

The release of his imagination never appears, because, without breaking a shackle, new shackles come and embrace us, in that age, as in this age, new shackles have introduced technology, called devices–from phones to tablets, so many things to make our lives easier. They have worn the new style on their feet, under the metaphor of window or window, how are our people doing in the new style of this era, the story of “Our People” is dramatized, the song of breaking the deadlock of this age in the imagination of dramatist Tasfin Hossain, where Rabindranath is very present and tells that the people are still in this era. Doing, Muktavihanga far defeated for them!

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The stage play had everything it needed, the dramatic plot and the challenge of the era combined with the drama–the acting, the songs, the poetry, the layers of narration, all held the audience’s attention for an entire hour; But what I felt more, is no less than the urge to break the stalemate described in the story of the play, that is a strong urge of how the second generation of Bengalis born and raised in the diaspora will hold their culture, how to take it forward, therefore, even after the end of the play. It does not end, the unbridled excitement of the audience sweeps away everyone involved in the drama, and at some point we keep looking at the three or three Amals and think, these children have such a wonderful Bengali pronunciation, such a wonderful performance, is it only the director Tafsin Hossain’s achievement or this? The urge that lives in the hearts of children? Does the desire to be a Bengali make them stubborn?

Tapu caste actor, I have seen Rubel’s play before, but, Sarmin Sultana, Tirth, Epa or Joy? I will talk about who except who! Everyone is great, even Monir’s brother in the light or Mushfiq in the sound! Can you imagine? But, most of all, our children, our future–they continue to gain strength under that flag, that’s joy! Calgary Bengali Ensemble’s first production is worth it, wait for the next ones, don’t let it end here—

Calgary, Canada

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