Khandakar also communicates the view which achievements within theatre during the last four decades happen to be major. “May be, within the last four decades we've followed a specific trend associated with Bangladeshi theatre training, but it is not frustrating.
Maybe, we need an additional two or three decades to carry out our targets, and achieve our destination,” he says.
“Bangladeshi theater needs to grow to be commercially rewarding, such as Tv set plays and flicks. But we must be careful not to pose the high creative and visual values from the medium,” he or she adds.
Khandakar began his trip in cinema during the Eighties. He went along to India regarding higher scientific studies and consequently enrolled in the National University of Episode (NSD) in 1986. Right after graduation, the girl returned to be able to Bangladesh in 1991 and also started exercising 'environmental theatre', then a new idea in Dhaka the actual theatre situation.
Along with ecological theatre, also, he emphasised the need to training space cinema.
“After returning home, I desired to do something brand new. Initially I began with installs, through which I desired to explore areas. Historical places were initially my priority,” claims Khandakar.
“It is something just like dramatising the history-based account of a particular place, for example the Bardhaman Home of Bangla Academia, using that specific place since the stage. In recent years, this concept has been utilized in piece of art, films and also documentaries and in company events,” he provides.
However, such as many dreamers, Khadakar's expectations regarding ecological theatre cannot last long. Insufficient necessary help from diverse corners pressured him to consider alternative selections for survival.
Currently he will continue to exercise this idea of ecological theatre from his university of cinema for children he runs on Fridays with Alliance Francaise delaware Dhaka. Along with a number of other plays, his / her 2005 manufacturing “Aladdin” (for children) is really a successful setup of the notion.
The concept can also be apparent within Khandakar's latest directorial perform “Rother Roshi” (produced by Natyadhara). Following keeping the initial Tagore text unchanged, Khandakar experimented with the area. Instead of environment the story with a common area, he decides to set this in a host to historic value.
He recognizes theatre's appeal being a bio-art as powerful as ever.
“The socio-economic framework has a excellent influence above arts as well as culture. It's true that the worth of our disciplines and lifestyle will be assessed by our own social and also economical circumstance,” he says.
“Raja Pratapaditya” (created by Bibartan, Jessore), Hamlet A Hamlet” (Natyadhara) and “Look In Anger” (Space as well as Acting Study Centre) are a couple of Khandakar's successful directorial operates.
No comments:
Post a Comment