Woman

Foreword

With his five surviving playscripts and still abiding memories of his directorial work and performances in theatre, Ritwik Ghatak remains a marginal presence in Bengali theatre, in no way comparable to his formidable—and controversial—iconic status in Indian cinema. With his first serious engagement with theatre, in his participation as an actor in Sombhu Mitra’s revival of the IPTA classic Nabanna for his new theatre group, yet to be named Bohurupee, in 1948, Ghatak inherited the theatrical tradition of the new Indian realism initiated and defined by Bijan Bhattacharya (1915–68) in the seminal 1944 production of Nabanna, that Bhattacharya directed jointly with Sombhu Mitra for IPTA from his own text, and in subsequent works like Mora Chand (1946), Jeeyankanya (1947), Kalanka (1951), Gotrantar (1956–57), Debigarjan (1966) and Garbhabati Janani (1969). Offering his evaluation of the Bengali theatre scene in 1966, Ghatak wrote: ‘Nobody seems to take the right perspective and recognize that what we really lack is the drama. The one or two playwrights, who retain the vision of truth as it grows out of emotional intensity and the sense of commitment that it brings along with it, are being deliberately stifled, and being told from all around, you are insignificant, you are nothing! Bijan Bhattacharya is one such figure. Right now it is only in his plays that I see the mark of genius, and the daring to reach beyond realism.’¹

In yet another piece, Ghatak wrote: ‘Bijan Bhattacharya was the first to show us how to register in theatre one’s commitment to the people, how to achieve collectivity in performance, and how to create on stage the seamless totality of a slice of reality. We, who were trying at the time, will never forget those days. It was a massive turbulence that ran like an electric shock through the whole of Bengal from one end to another . . . I haven’t read all his works since then or seen them staged, since over the years I have gradually moved away from theatre. But what I know is that he has never stopped in his tracks. All that he has had for his capital is a pristine honesty. And with that honesty for his approach, whenever a problem stares him in the face, he immerses himself in it to the very depths. It would be a travesty of truth to claim that he succeeds every time. But I have not seen anyone else in Bengal serving theatre through a lifetime with such a clear mind. He is not concerned about reputation. It is not in his nature to seek to set up a school with a label to it. In other words, this gentleman hasn’t learnt to cheat.’²

Nabanna, and the film Chhinnamul (1951), directed by Nimai Ghosh, in which he acted, were the immediate models for Ghatak’s first forays into playwriting and direction. Both centered on displacement and migration, the former located against the Bengal Famine of 1943-44, the latter documenting the Partition of 1947 and its aftermath. Dalil (translated as Charter in the present collection) that Ghatak wrote and directed for the IPTA (now in its second phase, after it had come out of the ban of 1948–50, and had lost a large section of its founding generation) in 1953, bringing him national recognition at the national congress of the IPTA in Bombay, focused more on the Partition and he divides and enduring fissures and agonies that it left behind in its wake. The same theme seems to be carried into a later phase in historical time, with the communal cleavage and the violence it generates continuing in both the fragments of the ‘partitioned’ territory, in Sanko (translated in the present collection as Communications).

Dalil has obvious reverberations of both Nabanna and Chhinnamul, and what I call the ‘new realism’ associated with Bhattacharya (as a matter of fact, the core of the Chhinnamul cast were actors trained by Bhattacharya for his stage production of Nabanna). Bhattacharya, unlike his co-director Sombhu Mitra in Nabanna, did not come to theatre along the colonial Bengali theatre route, a theatre dominated by over theatrical histrionics, projections of star / ‘heroic’ performers at the cost of psychological realism or physical / spatial objectivity, and sentimental flights. Moved by the horror of the Famine and the migrants from the starving villages dying on the streets of Kolkata, Bhattacharya in his plays sought to capture the authentic reality of Bengal in its villages or tribal margins, as he saw it (as a roving Communist journalist) crumbling, disintegrating, and losing its rich verbal idiom and the genetic physicality of its lifestyle, both its voice and body, under the onslaught and with the inroads of a fast expanding, brutally exploitative urban economy. Both Sova Sen and Tripti Mitra, the lead actresses of Nabanna, in their conversations with me, recalled the care, sensitivity and concern for authentic detail with which Bhattacharya had trained them in the dialectal speech, and taught them how to make their bodies—their actorial physicality—tune themselves to the rhythm of the speech. Ghatak had a taste of this when working with Bhattacharya on the stage in the second Nabanna. The direct charge of this experience and the powerfully committed collectivity of the new generation of IPTA activist-actors (with Sova Sen from the original Nabanna serving as a continuity with the tradition) gave Dalil a scale that Ghatak would not touch again in his later work in theatre as playwright and director.

Creatively, Ghatak was already moving away into cinema, when he was writing his first plays, and was moving away from the breeding / burgeoning space of theatric creativity, the actors’ ensemble. Cut off from that space and with the long gaps between his work in cinema and his short flirtations with theatre, his theatre imagination suffered. As a matter of fact, later in life, whenever he returned to theatre, he brought to it the burden and pain of his frustrations in his cinematic career, his sense of unrealized potentials and the constrictions that cribbed and confined him in the film ‘industry’, and his desperation and rage burst forth in plays like Jwalanta (translated as Ablaze in the present collection) that had lost performativity altogether. And then there was of course the inadequately recorded and documented phase of his creativity in the spell he spent in the mental asylum.

In his films, the more earthy immediacy and reality of the Partition and the migration that followed, in Dalil or Sanko, gave way to a more mythical evocation of that slice of history, now engrafted in a state of mind that had turned it all into a continuing sense of homelessness, restlessness, and nostalgia for the lost home, sometimes even a quest for it, as at the close of Subarnarekha; the rugged realism breaking into great moments of poetry in speech and an almost dancing body, so characteristic of Bijan Bhattacharya’s theatre, transmuted into a cinematic expressionism far away from theatre.

Samik Bandyopadhyay

1. Translated from ‘Natak O Bartaman Kaal’ [‘Plays and the Present Times’], reprinted in Natyakatha, special issue on Ritwik Ghatak in Theatre, ed. Saumitra Kumar Chatterjee, March 2004.

2. Translated from ‘Bijan Bhattacharya: Jeebaner Sutradhar’ [‘Bijan Bhattacharya: Pathbreaker in Life’], first published in Natyadarpan, May 1975, reproduced in Natyakatha, March 2004.

Play 1: Charter

Translator’s Note

This play depicts the situation that arose before and immediately after Partition. The play begins with a vignette featuring a Hindu family’s daily life in undivided Bengal. This play, originally named Dalil by the author, has many characters, with each having his or her say in the story in equal measure. There is no protagonist of the piece as such. However, the script uses dialects that were translated into English after deep research. Some Bangla words, however, have been left untouched to keep the flow of dialogues smooth.

First Wave: First Part

[Deep into the stage is an embankment. It is not difficult to make out that behind the embankment is the river Padma, as brown and blue sails are seen crossing the stretch. The sound of oars slicing the waters can be heard. The night sky is slate blue. To the left of the stage is a thatched-roof earthen hut, a part of which is visible. Its door and the dawa (An elevated seating area in the front of a hut), are jutting into the stage. A fence made of bamboo strips runs up to the embankment. Behind the fencing is fishing net. Carrying a lantern, a married woman of 25 or 26 years of age appears from the right side of the stage—walks across, opens the door and enters the hut. She had stopped for a few moments when she reached the centre of the stage. The tune of a sad song emerges from the other side of the embankment, disturbing the still of the night. The woman shakes her head and resumes her walk. A part of the head of the man, who is singing the song, can be seen on the other side of the embankment. He keeps on singing...]

Gopal: Hamar jan-er gang re, hamar shonar gang re,

Hamar Padma gang.

Tumi-i hamar mon bhulale, tumi-i hamar pran.

- Ho amar gang.

Jey tane-te bhashao tumi hamar bhyatal nao,

Shey batash-e tumi hamar badam bhorya dao,

Gahin rat-e jey dheu-te poran-kotha kao,

Tarai hamar pran karache, dichey akul tan,

- Ho amar gang.

(The river belongs to my heart, my golden river, my Padma river. You have stolen my heart, you are my soul. The way you make my boat sail, the way you fill up the sail of my boat with wind, the way you pour your heart out to me in the dark night have robbed my heart.)

[The manner in which he drags the tunes reflects a unique loneliness, something which casts a spell on the entire scene. The married woman comes out, sits on the dawa and listens to the song. The woman stands up once the song fades.]

Swarno: Thakurpo (Used by a married woman when referring to the younger brother of her husband), the songs that you string together make my heart grieve.

[Gopal spoke to Swarno from where he was sitting.]

Gopal: [From where he was sitting.] Did you say something, Bouthan (The wife of the elder brother)?

Swarno: I am curious to know what keeps you so engrossed at the end of the year?

Gopal: I don’t feel like going anywhere today. This edge of the river has caught my fancy.

Swarno: That’s why you sit there to write songs of the heart.

Gopal: What did you say?

Swarno: I said, don’t vanish. You have to take me to the Gombhira’s Asor (folk theatre featuring Lord Shiva and stories associated with him). Don’t go anywhere.

[A 22-year-old boy appears with the fishing net.]

Gopal: Where can I go? Give me the discs. Let me tie them to the net, sitting here.

[Swarno fetches him the iron discs in a small container. Gopal spreads the net and hums a tune.]

Gopal: The house is so quiet today.

Swarno: Everybody has gone to that fritters’ shop at the september fair. Baba is also there. They should be back anytime soon.

Gopal: Alright. But where is Haruchandra?

Swarno: I don’t know where he went with Padmamani. He was here just a while ago.

Gopal: Padma has taken him along with her. Now I get it. Some girl this Padma is! Day or night, companion or no companion, she is moving around in the jungles and the woods. She is having a good time. But she is not being able to set her mind on studies in spite of my best efforts.

[Swarna goes inside the house. Gopal keeps on mumbling with his head bowed.]

Gopal: You know Bouthan, she could have been somebody had she pursued education. She is sharp but I have no idea what goes on in her mind all day long. I find it strange.

[He raises his faces but sees no one around. He smiles and hums a tune. From the other side of the embankment appears a girl of 14 wearing a yellow saree with red hoops. She is also wearing a nose ring. Her hair is unkempt. A lotus with its stem hangs from the ponytail on her head. In her hand is a length of rope that is tied to one of the two ankles of a boy, who is about 10. Boy wears a very satisfied look on his face with a dash of wisdom. Even though he feels ill at ease whenever the rope tightens, he doesn’t break his short-stepped walk. He is carrying a locally made flute in his hand. The girl comes and scouts her surroundings with her bright eyes. Then she uses her eyes to draw the boy’s notice to Gopal. Without batting an eyelid, the boy walks up to Gopal and blows the flute into his ears. Choking on his breath, Gopal drops everything and springs in fright. He stumbles as his feet and get entangled in the net. Swarno comes running saying, ‘what happened?’ Padma covers her face with her hands and rolls in the centre of the stage in delight. She is laughing out loud. Haru is dragging the rope towards the house.]

Swarno: What is this?

Gopal: Why did you blow it so hard?

Haru: Pishi asked me to do so.

Swarno: She is so devilish!

Gopal: Just wait!

[He flings the net away. Padma jumps onto the rear of the dawa. She is trying to run away but Swarno holds her by the ear and brings her down.]

Swarno: There is no end to her pranks even after she returns from dancing around in the neighbourhood during the peak of the afternoon. I see, my Padma has a lotus in her hair! It seems you won’t understand until I use strong medicine for you.

[Swarno slaps Padma and tells Padma to go inside.]

Swarno: Go, go inside!

[Swarno pushes her away. Padma stands on the dawa with her head bowed and appearing recalcitrant. Swarno looks at Gopal and her face breaks into a smile.]

Gopal: Padma, come here. [Padma steps forward] Where did you go?

Padma: I went to the jungle of Bhimsen.

Swarno: O! Does it hurt?

[Swarno places a hand on Padma’s shoulders. Padma nods.]

Swarno: Why are you like this? Now go. I will take you today to the Gombhira’s Asor.

[Padma’s face lights up.]

Padma: Today’s act is ‘Mantri Mission’. When shall we go, Bouthan?

Swarno: Don’t be impatient. We will go.

Gopal: Hey Padi, come to me.

[Padma walks up to him.]

Gopal: Sit down. How are you?

Padma: I see! Friendly banter!

Gopal: How can I do that!

Haru: Ma, untie the rope. It’s begun to hurt.

Swarno: Come to me, you stupid boy.

[She sits next to Haru and unties the rope from his ankle. Padma makes eye contact with Haru and sends him a signal. Haru ties the other end of the rope to Swarno’s ankle.]

Swarno: Now go to the room. It’s time for lunch.

[Haru gets up and tries to walk away holding the rope in his hand. The tug almost made Swarno fall.]

Swarno: O My God!

[Blowing the flute, Haru jumps around. Padma, laughing out loud, leans on Swarno. Swarno slaps her gently.]

Swarno: You are so impish!

Gopal: Let it be, Bouthan.

Swarno: She has gone down the embankment. Padma, come inside the house. Don’t go now. I can’t take it anymore. I feel like crying.

[As Padma walks down the slope of the embankment, Haren Pandit can be seen walking briskly from the other side. He is a fidgety and busy man of 30. Padma and Haren collide. Padma says ‘Oh’ and runs straight into the house. Swarno pulls the tail of her saree across her head. Haren picks up the books that fell on the ground.]

Gopal: How come you are here now, Haren Pandit?

Haren: I don’t have much time in hand. I have to walk a long distance to be at the town.

Gopal: Why are you going to town in the night?

Haren: Don’t extend the conversation, or else I will get late. I have to go to Nimchand’s Kayan’s office.

Gopal: Nimchand Kayan’s office!

Haren: Don’t you know? The news about Partition will be broadcast on the radio tonight.

Gopal: On radio?

Haren: Our leaders feel that Chanakya’s slokas indeed contain wisdom—having half is wise.

Gopal: What does that mean?

Haren: It means that my primary school has to shut down its shutters. I worked so hard to get a teacher’s degree and set up a school in this village. All that effort will be washed away. It seems I will now have to leave for India—lock, stock and barrel.

Gopal: But why?

Haren: That’s because Pakistan will come into being. Of course, my plans would depend on whether this district ultimately goes to Pakistan after partition. I heard Nimchand was pouring in a great deal of money to prevent this district from becoming a part of Pakistan. But you know, bribing the English is a different proposition altogether. They will accept money but may not do your work in the end. But Nimachand is not the one who will give up. He built a rice mill last year and a movie theatre. Don’t you think he is going to fight till the end to make this happen?

Gopal: Do we also have to fight once Pakistan becomes a reality?

Haren: Of course! Pakistan would be a country of the Muslims. Why would they tolerate Hindus?

Gopal: So what? Kalim is a Muslim and so is Feroza Nani. Even some of my neighbours are.

Haren: They are a minority community among Muslims and prefer to coexist peacefully with Hindus. But do you remember Noakhali? Muslims from the other parts of the Indian landmass will arrive. I am really concerned. Partition will be announced today. Hey!

Gopal: What happened?

Haren: I am already late. Bye bye.

Gopal: You are a crazy man. Wait a while.

Haren: Look here, I am usually a very tame person. I have much work to do tonight. If I hear news about anything untoward, I will inform you on my way back. Bye bye.

[He leaves.]

Swarno: Thakurpo… Where are you, Gopal?

Gopal: Yes?

[Padma was peeping out of the house. She now comes and sits to the right and plucks the petals of the lotus she is wearing on in her ponytail.]

Swarno: Kalim used to talk about Pakistan—does that mean migrating to another country?

Haru: Uncle, I have heard of Pakistan. Some person playing the role of an Englishman in that Gombhira’s Asor had mentioned Pakistan.

Gopal: Bouthan, if we have to migrate to another country, what kind of a situation that would be?

Swarno: These are all rumours.

Gopal: Of course! But are they really so? I don’t know.

Gopal: I find it amusing to imagine that within a second, we may have to leave for another country, bidding goodbye to the land and this environment that were so dearly ours for ages.

Swarno: All these are rumours.

Gopal: No Bouthan. The riots in Kolkata are not rumours. The happenings in Noakhali are not rumours. What that is emerging is making me scared.

Swarno: There is no sign of anyone else returning home. You people sit down for dinner.

Gopal: [smiles.] That’s better. Let’s go and watch the Gombhira’s Asor after dinner.

[Gopal wraps his arms around Padma and Haru. Padma pinches him and Gopal moves away. Haru blows into the flute twice. Annoyed, Swarno snatches the flute from him. Haru makes faces at her from a distance. Then he breaks into a run as he is chased by Swarno. Padma quietly sidesteps Swarno and enters the house. Swarno follows them. Gopal pauses for a while before entering the house. The stage is empty. From the left, Kalim and Kiru Sheikh enter. They are carrying a pole each on their shoulders, with earthen pots hanging from either ends. Kiru Sheikh is an aged Muslim.]

Kalim: [Puts down the pole on the floor.] Sheikh, my home is next to this house.

Kiru: Alright, you go. I will use the water of the river to wash up. What would you get for Iftar?

Kalim: Mian (A title used by the Muslims to refer to another man in general), you have come to my humble abode. I will get whatever is available in my house.

Kiru: Go then and don’t be late. Hope you remember that we have to be at the League office!

Kalim: Yes, to get news about Pakistan.

Kiru: We have to galvanise the National Guards now. You have to teach them the use of lathi.

Kalim: That I will! How about teaching them the use of stiletto? The eye becomes sharp if you do that.

Kiru: Do whatever you wish to but you have to assume the responsibilities this time.

Kalim: Why don’t you do something? Do you