Silchar’s Theatre Renaissance: Triumph Over Adversity at ‘Theatre er Poush Porob’

Theatre, deeply rooted in the world’s history, possesses the extraordinary ability to transport us into diverse realms and convey messages of love, peace, and harmony through its captivating presentations. However, in recent times, theatre has encountered complexities as it contends with various other forms of media that often attract larger audiences.

Despite these challenges, theatre persists and thrives even in the modern age. Yet, a few years ago, the global pandemic, COVID-19, brought the entire world to a standstill. During this period, theatre, like many other industries, faced numerous challenges. In Silchar, post-COVID, theatre struggled to draw audiences, but necessity paved the way for a transformative initiative.

A Silchar-based theatre group, Ajker Projonmo, in collaboration with Race Theatre, took the reins and organized a theatrical festival named “Theatre er Poush Porob.” What began as an endeavor to overcome post-COVID difficulties has now grown into a flourishing annual event, marking its third year. This year’s six-day festival attracted theatre groups from across the Northeast and beyond, showcasing their respective plays.

Representatives from the organizing theatre groups, Sayan Biswas from Ajker Projonmo and Indranil Dey from Race Theatre, expressed their passion for theatre and the challenges they faced post-COVID, which inspired the creation of this festival. Biswas emphasized their decision to help themselves when faced with difficulties, aiming to revitalize the theatre culture by attracting as many people as possible.

Financial struggles were a common theme in their narratives, yet both Biswas and Dey maintained optimism and resolved to rebuild and reignite enthusiasm for theatre among the people of Silchar.

This year’s festival presented a diverse range of plays over the six-day celebration, featuring performances from Songlap, Dasharupak, Kalabhumi, Bhabikal, Gononatya, and others, encompassing both Bengali and Assamese plays. The festival also included the presentation of a Youth Theatre Award, recognizing and encouraging the involvement of young talents in the field.

Professor Anindya Sen of the English Department at Assam University, who played a crucial role in the play Court Martial by Bhabikal, shared insights into the cultural significance of theatre festivals in Silchar. He emphasized the importance of experiencing theatre’s performing aspects, providing a unique and irreplaceable exposure that classroom studies cannot replicate.

Sen pointed out that theatre allows the audience to connect and participate, distinguishing it from other forms of media where the audience remains passive. He highlighted the festival’s role in exposing students to the theatre environment, fostering a deeper understanding of the art form.

Chitrabhanu Bhowmik, the director of Bibad from Dasharupak theatre group, echoed the financial challenges faced by theatres in Silchar. He emphasized the need for government support to preserve and promote theatre as a crucial aspect of society. He believes the presence of theatre enriches society to be better and promotes a better mindset among the people. Bhowmik commended the festival for addressing this need and acknowledged the organizing team’s efforts in making it happen.

The festival’s vision was to revive theatre activity in Silchar after the pandemic. What started unexpectedly has now turned into an annual event, which is now in its third year, with growing support and participation. Theatre groups from across the Northeast and beyond traveled to Silchar to perform, contributing to the festival’s success.

Indranil Dey from Race Theatre highlighted financial challenges as the primary issue faced by theatre groups in Barak Valley due to the absence of a professional theatre infrastructure. He acknowledged the support received from various sources, including local clubs and the MLA of Silchar, Dipayan Chakraborty.

Sayan Biswas of Ajker Projonmo explained their decision to organize the festival during a specific timeframe to avoid scheduling conflicts. When asked about the festival’s expected outcomes, Biswas highlighted the increased engagement of people in theatre activities as a success. The festival provided a platform for diverse theatrical languages, facilitating the exchange of ideas among different groups.

Despite the hardships, especially financial challenges, Silchar’s theatre culture continues to flourish due to the relentless determination and efforts of those involved. The organizers express hope for the future, anticipating continued growth in the commercial aspect of theatre in Silchar. With an increasing number of young enthusiasts joining theatre, the culture is set to endure and evolve.

In this festival, various plays took the stage, including “Court Martial” by Bhabikal, directed by Santanu Paul, “Bibad” from Dasharupak under the direction of Chitrabhanu Bhowmik, “Srijan Hobe Kobe” by Kalabhumi, guided by Bidyutjit Chakraborty. Additionally, there was an Assamese play titled “Priyo Bondhu” by Gononatya, among many others.