The second edition of Dhaka International Monodrama Festival will end today with staging of Dhaka Theatre’s production Panchanari Akhyan at Experimental Theatre Hall of Bangladesh Shilpakala Academy.
Written by Harun Rashid and directed by Shahiduzzaman Selim, Panchanari Akhyan depicts sufferings and struggles that women, disregarding class and status, endure in the male dominated society.
Television and theatre actress Rosey Siddique plays five imaginary characters from different strata of the society including the ghost of a rural girl, a film actress, a Hindu housewife, a divorced girl from Jamalpur and a historical woman from an aristocratic family. Through these five characters, the play shows that no matter what a woman does, she has to face certain challenges for just being a woman in the patriarchal society.
The eight-day monodrama festival earlier featured nine monodramas by five local and four foreign troupes.
A traditional pala was also staged on the opening day of the festival on December 08. Bangladesh Chapter of International Theatre Institute and Bangladesh Shilpakala Academy jointly organised the festival with support from cultural affairs ministry.
Among local troupes, Shobdo Natyacharcha Kendra, Dhrupadi Acting and Design School, Swapnadal, Shadhona, Padatik Natya Sangsad and Dhaka Theatre staged their monodramas at the festival.
Moreover, two Indian, a Chinese and a Vietnamese troupe staged their productions. Most of these 11 productions addressed women’s pains and rights in the patriarchal society.
‘The festival featured some excellent productions, though we are a bit unhappy with audience turnover,’ said festival director Ramendu Majumdar.
‘Still, we hope that organising monodrama festivals regularly will inspire local troupes to produce more quality monodramas ’, said Ramendu, who is also honorary president of International Theatre Institute.
Chairman of Bangladesh Chapter of International Theatre Institute Nasiruddin Yousuff said ‘Number of quality monodramas is increasing day by day in our country. We should patronise such productions.’
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