|
Story |
: |
ATMOJON (RELATIVES) |
|
|
: |
Ujjal Chattipadhyay |
|
Music |
: |
Murari
Roy Chowdhury |
|
Light |
: |
Somenath
Chattopadhyay |
|
Set |
: |
Saumik
-Piyali |
|
Makeup |
: |
Panchanan
Manna |
|
Direction
|
: |
Meghnad
Bhattacharya |
Concept of the
Play: “ATMOJON (RELATIVES)”
It is a play on
meaning of human responsibility and human tie in a family. Family is based on
blood relations and constructed social relations. Socially structured relations are often
questioned and separation falls out. Reality is a pattern of relations for
individuals and it poses some basic questions and this play is embedded with
these questions.
Basanta, a middle
aged person is troubled with her wife who demands divorce as Basanta is very
much attached to his good old neurotic
father Sarat. His wife leaves with their daughter. Sarat is severely ill and
needs continuous care. Basanta is sacked
from job, becomes restless thinking how to take care of his father.
Again he is summoned by the court for
imminent divorce.
However Basanta
gets a job and also a maid to take day care of his father. He started to depend on the maid but the maid
one day did a fatal mistake that could cause death of Sarat. Basanta
became furious and his anger prompted him
to push the maid in the course of turbulent conversation. The maid left the job and comes after some days with a
blame the she was pregnant and she had a miscarriage as she was pushed by Basanta.
Divorce, expected
loss of relation with his daughter and
this blame with legal implications makes
the situation horrible. The maid comes
with her husband and husband clearly wants huge compensation. Perhaps it might
be a ploy and foul play. Basanta is often criticised for his irrational anger. So it is now a
gross point against Basanta that might affect the divorce suit negatively.
A terrible
loneliness, huge responsivities, destruction of bonding is a tragic content of
the play. The last turning point however in favour of hidden humanity and true
parenthood of human soul.
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CAST
