‘Corpse’, a Drama Set in the Internet Stage

Industry has gone hand in hand with technology since time immemorial. When the camera was invented, many thought the days of the painter were over. But by bearing witness to history and accepting the return of technology, art has advanced and developed. This can also be said in the case of drama. By moving away from the folk form and entering the era of the proscenium, the theater is modernizing. However, the intrasyllabic current of the Lokayat style is still current, and this current has branched out and developed. From the third theater to the intimate theater etc., the drama advances by breaking the proscenium. After the film’s release, many thought the days of drama were over But dispelling that apprehension, the play survives with its novelty of subject and style, and even after television came home, the play did not suffered no loss.

Because those who want to see the true reflection of life are the spectators of the drama. Those who want to understand the concentrated crisis of society, family and real life in the drama are the eternal spectators of the drama. Whether ‘Neeldarpan’ or ‘Nabanna’, the pieces speak of society. The theater personalities who are responsible for society overcome all adversities and sing the story of human happiness and sorrow and sing the victory song of mankind.

For a long period of a hundred years, the dramatization of Silchar continues the pain of the score, along the slippery path in the blood of the martyrs of the multiple linguistic movements. Along this journey came the horror of the ‘NRC’, the covid pandemic and the latest addition was the devastating floods. With the bounty of globalization and revolution in technology, the whole world has been brought under the roof of one theater where the actors on stage live on one side and the whole world on the audience side. We see that the “tsunami” tide has arrived in the field of literary culture, but the theater is not far behind.

There is no question of being left behind, because if this opportunity is used, the drama will have the opportunity to advance to a different level, as has already happened in the case of the wireless drama. Many present themselves in a new way as the situation evolves with the ability to use advanced technology, many are unable to And the possibility that those who cannot may be lost over time cannot be ruled out at all.

Subrata (Shambhu) Roy is one of the few who have worked tirelessly to advance the theatrical practice of Silchar by mixing tradition and modernity and whose social responsibility is indisputable. Three plays (NRC Trilogy) directed by Subrata (Shambhu) Roy based on plays written by playwright Arijit Aditya is a brilliant effort in the history of theater practice in this valley. In fact, Subrata Roy (Shambhu), the iconic playwright, is the kind of man for whom the stage means the cricket pitch, where Gundappa Vishwanath’s square border or Mahendra Singh Dhoni’s straight bat over the border or Bishen Singh Bedi’s spinning bowl can be seen. For Subrata (Shambhu) Roy, the stage of drama is the football pitch where you can see the back volleys of Shyam Thapa, the goalkeeper of Peter Thangaraj or the artistic play of Maradona. Was the person flattered? No, it’s a sincere assessment.

Paran Chakraborty, Neelu Sengupta, Palu Biswas and many others, even Dilu Dhar, are now shrouded in the darkness of oblivion because we don’t know how to assess them. There is no new generation of scholars who will bring these traditions to light and assess them properly. Special mention should be made to legendary drama personality Naresh Pal Because there is an organization like Rupam organization, his name shines bright. Those who are dead or have already passed away are our heritage, our pride and our sense of identity but those who are still here, who have a lot to give, who are our present and of course our refuge, Subrata (Shambhu) is theirs first representative.

Subrata Roy’s solo performance as Madan or Michael Madhusudan in the play ‘Aami Madan Gyaha’ will not be easily forgotten. The whole scene was dominated and Hallabharti drew the audience’s attention towards him in a hypnotic spell. What a wonderful performance! Words knock very pertinently at the door of memory. On September 16, I saw a video on Subrata Roy’s Facebook timeline. This video may have been lost in the crowd of countless videos that are constantly “posted”, because in terms of quality, the number of useless videos on Facebook is high. Perhaps seeing the name Subrata Roy calmed the eyes, quieted the restless mind, and stopped the fingers. Usually when we browse Facebook, we go through one post after another sometimes giving a “like” or a “RIP” or a light comment.

I started watching the 15 min 48 second Subrata Roy video out of curiosity, this video has already been shared by 145 people on their timeline, 12 thousand viewers watched it, 189 people replied and 348 people expressed their love. Generally, in the case of Silchar, a successful staged play has three to four hundred viewers, so if that play is staged forty times, then only that many people will see the play, which is impossible in a nutshell. Subrata Roy’s exceptional artistry and social responsibility are recognized in the modern spirit and artistic sensibility that Subrata Roy Mahashay has chosen to embrace on the internet.

When the second flood of 2022 is a natural disaster or a man-made disaster, Subrata Roy presented a play “Lash” in a different dimension in his own writing, planning and acting. Director Rumi Roy and actor Subrata Roy prove once again that a true entertainer knows no bounds by presenting a different dimension of drama beyond defined drama. Bangabhavan theater has been closed for a long time, Milyathan district library was also demolished. Fruit of Silchar’s indomitable determination to pursue his theatrical practice despite so many adversities, this play opens up a new horizon for him.

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