1.	1978
	NARAMEDH	Play	:	Rajat Ghosh
		Music	:	Debashis Dasgupta
		Makeup	:	B. Brothers
		Stage	:	Meghnad Bhattacharya
		Light	:	Meghnad Bhattacharya
		Direction	:	Meghnad Bhattacharya
		First Show	:	25.12.77   RANGANA THEATRE
		Last Show	:	22.02.78   JOGESH MIME ACADEMY
		Total Show	:	5
	SYNOPSIS:

2.	1979		Play	:	Chandan Sen
	DUI HUJURER GAPPO		Music	:	Bhaskar Mitra / Murari Roy Chowdhury
			Makeup	:	Shakti Sen / Panchanan Manna.
			Set Design	:	Ranajit Chakraborty / Khaled Chowdhury
			Light	:	Konishka Sen / Somenath Chattopadhyay
			Direction	:	Meghnad Bhattacharya
			First Show	:	2^nd Nov’1979 , Bijon Theatre
			1^st Revival	:	25^th Dec ‘1997 , Uttam Mancha
			2^nd Revival	:	22^nd Dec ’2013 ,Town Hall , Agartala , Tripura
			Total Show	:	340 (Running )
	SYNOPSIS: THE STORY OF TWO MASTERS Mikhail Saltikav Schedrin was one of the greatest Russian writer who adopted satire most effectively in the field of literature. He was one of the favourite writer of Lenin. The Drama “The Story of two Masters ” has been adopted from one of his compositions entitled ‘Tales’. The two masters,a retired Politician and a retired Police Officer while listening to a Hawker, sudedenly reached an unknown island named ’Titirmou’. In that serene bouyant holyland they came in contact with the simple folk & discovered that abstisence from work is a crime and that every one has equal share in the golden harvest in the earth . How the two masters could acquiesce in a situation of this nature ? So they adopted a Strategy . Specially youth of that holyland beaming life and vigour, who worked hard on land were allured to temtation. How this triggered off an intriguining episode and what ends the two masters met when the “Wise man” of the island stepped in. ? What do they unfold for our modern society?
	Critic: Cast: (2015) Ananda : Uttam Dey Gajanan(G.G.): Meghnad Bhattacharya Brakreswar (B.B.): Subrato Bhowal Titirmou’s Residents :: Satya: Ajoy Bandopadhyay Durba: Indrajita Chakraborty Gyan Khuro : Parimal Chakraborty Bansi : Dhurjati De Fagu : Pradip Das Tagar : Sampa Sena Ratan : Jayanta Das Haru : Sukharanjan Bhattacharya Others: Goutam Sardar , Susanta Dasgupta , Goutam Sen , Samir Deb , Sukanya Chakraborty , Anamika Bhattacharya, Sudipta Banerjee , Subhamita Banerjee.

3.

1981

SADHUSANGO

Play

:

Chandan Sen

Music

:

Debashis Dasgupta

Makeup

:

Shakti Sen

Set Design

:

Ranajit Chakraborty

Light

:

Kaniska Sen

Direction

:

Meghnad Bhattacharya

First Show

:

30.11.81   BIJAN THEATRE

Next Show

:

21.06.98   WASHINGTON

Total Show

:

81

SYNOPSIS:

Critic :

4.	1982
	KALBIHANGA (Short Play)		Play	:	Manoj Mitra
			Music	:
			Makeup	:	Sripoti Das
			Set Design	:	Dipen Sen
			Light	:	Gopal Das
			Direction	:	Meghnad Bhattacharya
			First Show	:	02.12.1982 Bijan Theatre
			Last Show	:	09.10.1983 Bijan Theatre
			Total Show	:	6
	SYNOPSIS:

5.	1983
	ANUBIKSHAN	Play		:	Chandan Sen
		Music		:	Debashis Dasgupta
		Makeup		:	Sakti Sen
		Set Design		:	Dipen Sen/Shyamal saha
		Light		:	Gopal Das
		Direction		:	Meghnad Bhattacharya
		First Show		:	16.03.1983 Bijan Theatre
		Last Show		:	08.12.1983 Bijan Theatre
		Total Show		:	26
	SYNOPSIS:
	Critic:

6.	1983
	SONAR MATHAOWALA MANUSH		Play	:	Chandan Sen
			Music	:	Debashis Dasgupa / Ratin Chakraborty
			Makeup	:	Shakti Sen
			Set Design	:	Ranajit Chakraborty
			Light	:	Gopal Das
			Direction	:	Meghnad Bhattacharya
			First Show	:	23.03.1983 Bijan Theatre
			Last Show	:	24.01.1986 Shyam Pukur
			Total Show	:	60
	SYNOPSIS:
	Critic :

7.	1985
	JNAN BRIKSHER FOL		Play	:	Chandan Sen from Tolstoy
			Music	:	Dipak Choudhury
			Makeup	:	Shakti Sen
			Set Design	:	Ranajit Chakraborty
			Light	:	Gopal Das / Somenath Chattopadhya
			Direction	:	Meghnad Bhattacharya
			First Show	:	02.12.1985 Bijon Theatre
			Revival	:	02.12.2009 Academy of Fine Arts
			Total Show	:	212
	SYNOPSIS: GNAN BRIKSHER FOL is a transrelocation and a transposition of the play's content in terms of its geography, language, culture, and time. He play is in Santipur, a small town in Bengal. Somewhere during the beginning of the 20th century It is a black comedy where the 'black' and 'comic' have been fused so beautifully that the audience, as it splits its sides with laughter also understands the difference between the powerful and weak, the rich and the poor, the 'intelligent' and the 'fool'. It is a social satire and a political comment on the two faces of power - the power of the haves against the powerlessness of the have nots. The lay have several layers. The first layer is filed with Ahibhusan, the Zamindar and his intellectual coterie sucked into their world of communication with the dead. The second world is Ahibhusan's family consisting of his hypochondriac wife, Kolkata obsessed son, so-called college educated daughter and the third layer comprises the deprived, the marginalized and oppressed servants, maids farmers, porter etc. The intelligent maid of Zamindar, Mrittika who has been eavesdropping on the planchette sessions, tricks Ahibhusan into talking her in he place of the professional medium. She makes Ahibhusan give away six bighas of land he had promised a year ago to a group of poor peasants. Ahibhusan's dead father 'appears' again through Mrittika and insists that his son keep his promise of giving out six bighas of land to the farmers at a throw away price. By the time Ahibhusan realizes that he has en tricked, it is too late.
	Critic :

8.	1986
	PARUI MASHAIER BISHOI ASHAI	Play	:	Subrata Nandi
	(Short Play)	Music	:	Ratin Chakraborty
		Makeup	:	Panchanan Manna
		Set Design	:	Dipen Sen
		Light	:	Gopal Das
		Direction	:	Meghnad Bhattacharya
		First Show	:	13.09.86   MUKTANGAN
		Last Show	:	04.12.96   SISIR MANCHA
		Total Show	:	8

9.	1987
	ASTITWA (Short Play)	Play	:	Debabrata Dasgupta
		Music	:	Ratin Chakraborty
		Makeup	:	Panchanan Manna
		Set Design	:	Dipen Sen
		Light	:	Gopal Das
		Direction	:	Meghnad Bhattacharya
		First Show	:	14.10.1987 Bijan Theatre
		Last Show	:	24.05.1990 Kalamandir (B)
		Total Show	:	14

10.	1988	Play	:	Ashok Mukhopadhyay from Bertolt Brecht
	JODIO SWAPNA	Music	:	Murari Roychoudhuri, Kalyan Choudhuri
		Makeup	:	Shakti Sen
		Set Design	:	Shyamal Saha
		Light	:	Tapas Sen
		Direction	:	Meghnad Bhattacharya
		First Show	:	06.06.1988 Academy of Fine Arts
		Revival	:	17.09.2003 Academy of Fine Arts
		Last Show	:	25.04.2004 Madhusudan Mancha
		Total Show	:	75
	SYNOPSIS:
	Critic:

11.	1990
	BEOKUF		Play	:		Chanchal Bhattacharya
			Music	:		Murari Roychoudhuri
			Makeup	:		Shakti Sen
			Set Design	:		Shyamal Saha
			Light	:		Kanishka Sen
			Direction	:		Meghnad Bhattacharya
			First Show	:		22.03.1990 Girish Mancha
			Last Show	:		11.05.1991 Vidyamandir
			Total Show	:		34
	SYNOPSIS:

12.	1991
	DAIBADDHA		Play	:	Chandan Sen
			Music	:	Murari Ray Choudhuri
			Makeup	:	Shakti Sen
			Set Design	:	Dipen Sen
			Light	:	Gopal Das
			Direction	:	Meghnad Bhattacharya
			First Show	:	21.05. 91   Academy OF Fine Arts
			Last Show	:	Running
			Total Show	:	666
	SYNOPSIS: It was merely tryst with destiny for Gagan, a lorry driver, when about 18 years ago he came across Sita, insulted and tormented in her well-established groom's house, desperatelv trying to commit suicide with her lap-baby. Gagan hopped down from his vehicle and saved Sita and her little baby. In course of time, these uneven lives get emotionally locked with each other. Tender love and affection spring spontaneously in the simple susceptible heart of Gagan, passionately reciprocated by his growing sensitive `daughter' Jhinuk. But even then Sita could hardly forget her former ego. And so the inevitable Nemesis casts it appalling shadow one day. Sita, Gagan and Jhinuk have to bleed upon the thorns of cruel realities, when Jiban, the loyal assistant of Gagan, or Debu betrothed to Jhinuk stand taken aback and feel only the surface of the tragedy. A new emotion of love and trust then ushers in from that moribund family structure to fill the void. It matters little whether the age old society is ready to accept the iconoclastic truth. But an emotional response to meet the challenge of a bolder reaponsibility gets the better of all obstacles.
	Critic:

13.	1993
	BASBHUMI (Dwelling House)		Play	:	Indrashis Lahiri
			Music	:	Dipak Choudhuri
			Makeup	:	Shakti Sen/Panchanan Manna
			Set Design	:	Pradip Das,Shyamal saha
			Light	:	Somnath Chattopadhya
			Direction	:	Meghnad Bhattacharya
			First Show	:	26.08.93 Academy
			Last Show	:	-
			Total Show	:	312
	SYNOPSIS: "The past is never dead, it's not even a past" - it is this realization that brings back Haimanti, one of the daughters of Anandamohah Chakraborty, from the human-jungle of Mumbai, to her native place in a suburban town of Bengal. Six years ago, she was ostracized from this township and banished by her parents to her uncle's residence in Mumbai, in order to hush up a scandal, nay, the ravishing of her woman-hood by notorious gangster. Has she come back for vengeance? Well, that is a different issue altogether. That she is allowed to put up in one of the rooms of this palatial house for a day or two, is due to the mercy of her father who has softened a great deal over the years. But Haimanti is in no need of mercy or pity anymore. She is bitter. She is strong and She is rich. The six hellish years in Mumbai have taught her to walk steadily on way of the world. She has not come here to reconcile with those who have robbed her of the virginity of her "Soul". It is the questioning Haimanti who shocks the complacency of those who had taken her for granted. Her questions lay bare her very root - her one time abode. The rootless woman comes back to her "Roots". Just this, could have been the subject matter of our play, but it isn't. The play is concerned with the effort of this individual to analyse the Root and expose the "worms" that eat it up. How the domestic sphere and social forces contribute to this process is the subject matter of our play. It isn't the story of Haimanti alone. It is the story of woman's plight in man's world. It is the story of Man in a world dominated by those who, out of sheer habitat.
	Critic:

14.	1996
	KARNABATI		Play	:	Chandan Sen
			Music	:	khaled Chowdhury
			Makeup	:	Shakti Sen
			Set Design	:	khaled Chowdhury
			Light	:	Tapas Sen
			Direction	:	Meghnad Bhattacharya
			First Show	:	20.04.96   MADHUSUDAN MANCHA
			Last Show	:	21.04.2001 Hyderabad
			Total Show	:	153
	Synopsis:
	Critic:

15.	1998
	AA-AAA-KWA-KHA	Play		:	Indrashis Lahiri
		Music		:	Dipak Choudhuri
		Makeup		:	Shakti Sen
		Set Design		:	Pradip Das
		Light		:	Somnath Chattopadhya
		Direction		:	Meghnad Bhattacharya
		First Show		:	31.12.1998 Mdhusudann Mancha
		Last Show		:	15.04.2002 Academy of Fine Arts
		Total Show		:	114
	Critic:

16.	1999
	MARACHAND (Short Play)
			Direction	:	Meghnad Bhattacharya
			First Show	:	31.12.1999 Rabindra Sadan
			Last Show	:
			Total Show	:	4

17.	2001
	ANDHAGALI	Play		:	Chandan Sen
		Music		:	Dipak Choudhuri
		Makeup		:	Shakti Sen
		Set Design		:	Pradip Das
		Light		:	Somenath Chattopadhyay
		Direction		:	Meghnad Bhattacharya
		First Show		:	17.02.2001 Academy of Fine Arts
		Last Show		:	16.07.2005 Chandannagar
		Total Show		:	76
	Synopsis: The crisis of our time is inimicably depicted by Eliot when he spel Is out : "We are the hollow men, we are the stuffed men". Stuffed' with ambitions and lures for luxury and comforts man takes resort to ways and means, that ultimately affect close individuals in particular and society in general. The ageold values give way to mechanical profit and loss calculations, the natural and normal relations break down. In the face of odd time Soumyadeb, frantically groping in the dark once found out a ladder in his wife Ranita to reach the niche of success and he is now a 'successful' man at the cost of his spouse Ranita, whom time has metamorphosed into an ambitious ultramodern careerist. Soumyadeb tasted a defeat in the conjugal separation. The most affected being is Raju, their little son. Soumyadeb not gets involved with Nilanjana, Nilanjana plays her role well in the new familial structure of Soumyadeb. Everyone is satisfied with her, but Nilanjana's past once appears at the happy doorstep and ultimatelv shatters the cosy comforts of the family. Ranita plays the catalytic role. The dejected Soumyadeb comes to Nilanjana with an appeal to start afresh. But Nilanjana discovers the smell of commercial bargains in this unexpected sumbission of Soumyadeb. Will the two set out for a new goal shredding off their past wrongs in consideration of Raju, who needs not a blind lane of marketable comforts but a wide meadow of sunshine ?
	Critic:

18.	2001
	NARI (Short Play)
		Direction	:	Meghnad Bhattacharya
		First Show	:	31.12.2001 Rabindra Sadan
		Last Show	:	31.12.2001 Rabindra Sadan
		Total Show	:	01

19.	2002
	BADHUTANTRA		Play	:	Indrashis Lahiri
			Music	:	Subhandu Maity
			Makeup	:	Panchanan Manna
			Set Design	:	Sanchayan Ghosh
			Light	:	Tapas Sen
			Direction	:	Meghnad Bhattacharya
			First Show	:	24.08.2002 Rabindra Sadan
			Last Show	:	05.11.2005 New Delhi
			Total Show	:	123
	Synopsis (Based on a Karnataka Folk Tale) A folk tale, normally, is only one telling, held down in writing for the nonce till you or someone else reads it, brings it to life and' changes' it by retelling it. This Kannada tale was handed down to us and is selecting, arranging and adapting, we're inevitably reworked them somewhat: So, consider 'us' the latest teller and 'yourself' the latest listener, who in turn will retell the tale. Like a proverb, a story gains meaning in context. The clever daughter-in-law in the Kannada folk Tale can tolerate everything but hunger. God looks after the poor and the hungry. But in this case, God, nay the goddess does not look after, she stares at the unfortunate bride while she gobbles her food ravenously. The Goddess not only stares, she puts one of her hands on her mouth to gesticulate her amazement: Thus starts an conflict between the mortal and Immortal which ends in the joy and the glory of the mortal. But it is not the narrative that matters. Folklore pervades childhoods, families, and communities as the symbolic language of the nonliterate parts of the people and the culture. Even some years ago, even in the large modern city like Madras, Bombay or Calcutta [when Bombay was not Mumbai; Calcutta was not Kolkatta. Even western-style neuclear families with their well-planned 2.2 children, folklore-proverbs, cullabies, folk medicine, folk tale - was only a suburb away, a cousin or grandmother away. Wherever people live folklore grows, new jokes, proverbs, rhymes, tales and songs circulate in the oral tradition. We know the new compus proverb "TO XEROX is to know" Not to counter that not to outwit that, but to add to that we proclaim, " we listen to our grandmas and grandpas and we know - we know a lot. It is not just a folk tale that we present--we combine "earthly wisdom" with an "airy fairy tale".

20.	2004
	SANJHBELA	Play		:	Indrashis Lahiri, Story – Bimal Kar
		Music		:	Nilanjan Nandi
		Makeup		:	Panchanan Manna
		Set Design		:	Uttam Day
		Light		:	Somenath Chattopadhyay
		Direction		:	Meghnad Bhattacharya
		First Show		:	13.09.2004 ACADEMY OF FINE ARTS
		Last Show		:
		Total Show		:	114
	Synopsis SAANJHBELA: Shrimoyee lives in a hilly region with her son and her daughter. But does she live with them at all? They come to structure her time and drive away her loneliness only during their vacations. Both of them spend the major part of the year in their respective hostels. The name of their father is a taboo in Shrimoyee's house. We do not know why this is so, till the end of the play, but we know at least this, Shrimoyee had walked out on her husband when her son and daughter were mere kids. She joined the local hospital as a nurse and now she is a matron of the same hospital. At this juncture enters Alokesh, a -man from Shrimoyee's past - a past that runs way back to her early adolescence. He seems to be suffering from amnesia. But when the past is forgotten, the present becomes unforgettable. The appaling reality to which Shrimoyee and children wake up after the entry of Alokesh is the subject matter of the play.
	Critic:

21	2005
	BENCHE THAKA (Short Play)		Play	:	Debabrata Dasgupta
			Music	:	Ratin Chakraborty
			Makeup	:	Panchanan Manna
			Set Design	:	Tridip Chattyapadhya
			Light	:	Somenath Chattyapadhyay
			Direction	:	Meghnad Bhattacharya
			First Show	:
			Last Show	:
			Total Show	:	18

22.	2006
	DILDAR	Play	:	Chandan Sen From Samarset Mongham
		Music	:	Shubhendu Maity
		Makeup	:	Shakti Sen
		Set Design	:	Sanchayan Ghosh
		Light	:	Somenath Chattopadhyay
		Direction	:	Meghnad Bhattacharya
		First Show	:	23.11.2006 Rabindra Sadan
		Last Show	:
		Total Show	:	115
	Synopsis: Dildar Hussain has an artists’ genre. His grand father Akrarm Ali was a famous sculptor, who thought that Dildar would definitely be an artist per excellence. By the whims of fate, Dildar now serves at 'Kundu Shoes Stores' of Deganga under Nilmadhab Kundu. Dildar with his brilliant paintings and artistry on nagra shoes has become a lucrative asset of Kundu. Dildar has a queer world of trans reality. While consuming Bangla liquor at tight in Ids little room of the shop, he visualizes his dear grandfather Akram and his beloved Banamala. They rebuke Dildar for doing such common jobs even though he is uncommonly talented. Dildar has a peculiar habit of Charity. The ill-fated sorrowing people always evoked his sympathy and he has a strange habit of weeping at the plights and sad of lots of people. One night at the country liquor shop he met an uncommon girl, professionally a prostitute, Rinti. Dildar helps Rinti with some money and a lottery ticket which he had to buy from a lottery ticket agent out of benevolance. Rinti comes back after a couple of days and handed over the money she has taken from Dildar and the lottery ticket too which by this time has won Bumper prize. Dildar wants to give the total money to Rinti but she refuses to accept it. Money, money and money -Dildar thinks a while and begins to vomit and has a heart stroke. Kundu sends him back to his own house at Beldanga. Dildar's wife who was a quiet obedient religious housewife wants to know why Dildar is feeling sick of everything, Dildar's daughter and her would be husband want to get hold the amazing wealth of her father. But Dildar has taken a strong decision of spending the whole money for the needy and poor. For which he has to fight against many known and unknown people expressing eagerness to share fortune with him. All these complicacies reflected on the mental texture of a sensitive artist. Gradually Ducar comes on the verge of death. He visuali^zes Rinti after a long gap actually Rinti appears as Death Dildar feels, Rinti is more than a girl- an ultimate Philosophy of existence defying all the bounds and limit of time and space.
	Critic:

23.	2007
	SWARNACHANPA (Short Play)		Play	:	Meghnad Bhattacharya , Story – Mani Mukhopadhyay
			Music	:	Swapan Bandyopadhya
			Makeup	:	Panchanan Manna
			Set Design	:	Pradip Das
			Light	:	Somenath Chattopadhyay
			Direction	:	Meghnad Bhattacharya
			First Show	:	23.11.06 Rabindra Sadan
			Last Show	:
			Total Show	:	21
	Synopsis:

24.	2008
	DOURNAMA		Play	:		Indrashis Lahiri
			Music	:		Goutam Ghosh
			Makeup	:		Panchanan Manna
			Set Design	:		Pradip Das
			Light	:		Ashok Pramanick
			Direction	:		Meghnad Bhattacharya
			First Show	:		20.12.2008 Girish Mancha
			Last Show	:
			Total Show	:		60
	Synopsis It starts with an accident! One of those disastrous bus accidents in the Metropolis called Kolkata for which you do not know who to blame; the driver; the corporation; the police; the System! Nonetheless, the accident occurs and at least one score of passangers including children; adults and old men and women are killed! The play -begins in ' an accident but it does not stop at . the accident. The bus accident is merely a metaphor. An intriguing story follows, the story actually tells us the plight of today where speed and speed; race and race; competition and commpetition has led us to our doom! The diver escapes. The driver's wife forces him to take shelter in his ex-teacher's place in a Mufasil town. One of the women passengers lying in the hospital who thought she had seved and her child by jumping off the bus learns that her child is dead, she had in her panic saved another child thinking her to be her very own. The interviewers crowd the hospital, the investigating officer comes to know the scenario. Eventually, the patient who has lost her child wants the driver alive and a sharp knife!!! The driver is eventually arrested from his mentor's house who is now counting his days. As the driver comes out of the court and as the patient who has lost her daughter meet each other, they recognize each other to their utter suprise! They are separated lovers due to circumstance! The child who has died in the accident is allegebly the driver's very own. The driver, while severing the relationship with this lady, did not even know that a child was growing up in her womb. But now he knows that he has killed his own child because of his love far SPEED! What follows after this is a story of sin and forgiveness; guilt and retribution; love and hate; complaint and forgiveness; Life and Death that involves the driver, his wife, his ex-girl friend; his mentor, the mentor's wife the investigating officer and "The cogs in the wheel" - The System!

25.	2010
	MUKTI ! MUKTI !		Play	:	Chandan Sen , Based on R.N.Tagore’s “Muktir Upay”
			Music	:	Murari Ray Choudhuri
			Makeup	:	Panchanan Manna
			Set Design	:	Pradip Das/ Uttam Dey
			Light	:	Somenath Chattopadhyay
			Direction	:	Meghnad Bhattacharya
			First Show	:	14.08.2010 EZCC, Salt lake
			Last Show	:
			Total Show	:	29
	Synopsis:: (Based on Rabindranath Tagore’s Short Play Muktir Upay) It is a saga of two families. Fakirchand and Makhanlal, the two protagonists, have a common trait; both of them are irresponsible of their families. But Fakirchand is a pseudo-pandit and obstinately puritanin his family life, while his young wife Haimabati epitomizes youthful vivacity, humor and love for romantic fictions of Bankim Chandra. This leads to obvious clashes, the pleas of which Fakirchand leaves away his family and goes to a Baba or Saint who ultimately makes him his trustee transforming him to a Sannyashi (Monk). Makhanlal is psychologically opposite. He is philanderer though he has two wives and seven children. He too is irresponsible and worthless. On the pleas of the criticism of his old father and his quarrelsome wives, Makhanlal also leave away his family and comes to Brindaban and marries again. Both Fakirchand and Makhanlal meet in the end in Makhanlal’s old house at Nabagram after some funny episodes of misunderstanding and false identity. The two families reunite.

26.	2011
	PINKI BULI	Play		:	Iindrasis Lahiri , Story - Amar Mitra
		Music		:	Swatilekha Sengupta
		Makeup		:	Panchanan Manna
		Set Design		:	Soumik-Piyali
		Light		:	Somenath Chattopadhyay
		Direction		:	Meghnad Bhattacharya
		First Show		:	22.09.2011 Academy of Fine Arts
		Last Show		:	Running
		Total Show		:	130
	Synopsis : Pinki is an urban adolescent studying in a convent school living in a nuclear family with her parents and her baby brother. Buli is an adolescent who comes from the outskirts of the city to baby-sit Pinki’s brother. Buli is just what Pinki is not, she is illiterate, under-privileged and deprived. But , much to Pinki’s astonishment , Buli has a rich storehouse of imagination and folk lore which she has imbibed from her village. With this she can disarm the so-called conventional academics of Pinki. Pinki gets jealous of her with each passing day and Buli, with her tremendous zeal for learning, learns and apes the modes, manner and even the very lingo of Pinki. There is confusion in the house, there is tension and the complacent life of the family is shaken up. The parents, whose relationship was already in a mess before the arrival of Buli, go through even more biter phases. Nonetheless, Pinki vicariously travels to a world delightfully that she had never known before in spite of envying this girl of her age who comes from a very mean background. Finally, Buli leaves the house and we do not know what becomes of her, but Pinki grows up to be a author of eminence who narrates the story of her experience with Buli in her celebrated book “PINKI - BULI”. An obscure old man plays a vital role in Pinki- Buli’s life who believes more in nature than Nurture when Nurturing destroys, we have to go back to Nature, is his Philosophy, So, is the philosophy of the Play.
	Cast: Organizer : Sukharanjan Bhattacharya Ujjala : Sujata Gupta Buli : Bhaswati Chakraborty Pinki : Rimi Saha Pinki’s Mother : Runa Mukherjee Piniki’s Father : Dhurjati De Atul : Uttam Dey Miss Regenja : Indrajita Chakraborty Old Man : Meghnad Bhattacharya Others : Parimal chakraborty, Ajoy Bandopadhyay, Jayanta Das

27.	2012
	DHRUBATARA		Play	:	Ujjwal Chattopadhyay
			Music	:	Murari Roychowdhury
			Makeup	:	Panchanan Manna
			Set Design	:	Saumik - Piyali
			Light	:	Joy sen
			Direction	:	Meghnad Bhattacharya
			First Show	:	02.12.2012 ACADEMY OF FINE ARTS 3PM
			Last Show	:
			Total Show	:	52
	Concept of the Play: Family norms and personal emotions do not always follow the same course. In most of the cases they maintain a conflicting relation which often leads to a severe damage in domestic life and relation. Ritwik Sen , an  environmental scientist of high repute and status and the central character of the play is heavily challenged in his professional life  in the issue of conservation of the environment in the true sense. On the other hand he has been suppressing a very personal and delicate episode of his life from his family for a long period of time. Ever mounting pressure from all corners breaks on him. His mental stability comes under stiff criticism. Shri.Sen slowly withdraws himself from all material happenings and gradually becomes silent. Finally truth unveils. ---- Ritwik Sen stands face to face with it because truth is ultimate and absolute.

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