Bangladesh Theatre Festival 2024: Shilpakala Academy reclaims the stage
Dhaka’s theatre scene roared back to life with the Bangladesh Theatre Festival 2024, a symbol of resilience and renewal after years of cultural silence
On a crisp November evening, the cultural pulse of Dhaka came alive once more. After what felt like an endless two-week pause, the curtains rose at the Bangladesh Shilpakala Academy with the much-anticipated Bangladesh Theatre Festival 2024.
This revival was nothing short of remarkable. The July Revolution had shaken the nation, toppling an oppressive regime and paving the way for renewal. Shilpakala Academy, once stifled under authoritarian rule, was now reclaiming its identity.
Yet, this rebirth was not without its challenges, as the journey to restoration demanded both resilience and reinvention.
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Earlier this month on 2 November, an unexpected incident during a performance by 'Desh Natok' had sparked nationwide debates. The troupe's performance of the play 'Nityapurana' had been halted mid-way due to protests. Authorities had to call off the rest of the performance for the safety of the audience.
Critics were quick to question whether the stage would survive this turbulence.
"Theatre is the bedrock of our arts. It's where great actors are born. Many of today's celebrated artistes began their journey on these very stages."
Yet, with remarkable foresight, the new administration restored calm, paving the way for the arts to flourish once more.
The festival began on 15 November, a jubilant celebration of the 'Bangladesh Theatre' troupe's 38th anniversary. Spanning three days, it saw Dhaka's cultural aficionados flocking to the National Theatre Hall, eager to witness the magic of live performances.
Among the crowd was veteran filmmaker Chhatku Ahmed, who reminisced about the golden days of theatre and its crucial role in shaping Bangladesh's culture.
"Theatre is the bedrock of our arts," he mused. "It's where great actors are born. Many of today's celebrated artistes began their journey on these very stages."
The second day of the festival saw a stellar performance of 'Siraj Jokhon Nawab Sirajuddaula', a historical drama adapted and directed by Abdul Aziz, based on Sachindranath Sengupta's original story.
The production boasted a diverse ensemble, with performances by Masuda Khan, Akhtar, Sweety, Emon Khan, Mostafiz, Idris, Soukat, Ratul, Raja, Shawon, Milton, and Abdul Aziz himself.
Mir Jafar, in collusion with the British, completed every scheme to strip the Nawab of his power and possessions. After losing his throne to Mir Jafar's betrayal, the Nawab, destitute and wandering aimlessly, suddenly awoke to his wife's call.
It was then that the young Siraj realised he had only dreamt of sitting the throne. Thus unfolds the comedy-driven play 'Siraj Jokhon Nawab Siraj-ud-Daulah'.
Kamal Bayazid, the Secretary General of the Bangladesh Group Theatre Federation, attended the show and shared his optimism for the cultural renaissance.
"With tyranny behind us, we can hope for a brighter future," said Kamal. His words echoed the sentiment of many who believed in the transformative power of art.
The festival's director, Shah Alam, who also played Nawab Siraj-ud-Daulah, embodied this resilience.
"Theatre cannot and will not stop," Alam declared with unwavering conviction. "It will endure every challenge."
The festival was a testament to this spirit. On the first day of the event, the comedy play 'Sea-Morog' was staged, marking its 302nd performance. Written by Asadullah Farazi and directed by Humayun Kabir Himu, the play featured a talented cast, including Emon Khan, Roni Akter, Sumi, Aziz Reza, Soukat, Suman, Ratul, Mostafiz, Khalid, Mahmud Shawon, and Milton.
The Ashwamedha Yajna symbolised territorial expansion in ancient times, where a king's horse determined the boundaries of his empire, sparking loyalty or battle from rival rulers.
The play 'Sea-Morog' mirrors this theme, centred on a prized rooster found in Sylhet's jungles and cherished by zamindar Shikdar of Baghbari village.
His seemingly harmonious life with three wives and servants unravels when the rooster disappears, exposing deep insecurities. Paranoia drives him to suspect infidelity, servant betrayal, and theft by a neighbouring household.
The play masterfully portrays human fragility and power dynamics through nuanced performances and impactful lighting, creating a compelling psychological drama.
Tickets sold out quickly, and the Academy grounds buzzed with energy—gone were the unruly crowds of yesteryears, replaced by disciplined theatregoers and dedicated artists.
As the festival drew to a close on 17 November, it left behind more than just applause-filled memories. It marked the resurgence of Dhaka's cultural scene, proving that theatre, like the country itself, could rise above adversity.
