GRIEF, GUILT AND BETRAYAL
The Pioneer, 2014, Utpal K. Banerjee
Albert Camus’ famous play, The Misunderstanding, was adapted by Bengali-Hindi group Sansaptak with Rajasthan’s Kalbelia music community as the focus... Written and directed by the veteran Torit Mitra, mother (Ruma Bose) and daughter (Sreemoyee Dasgupta) are an eloquently-furious, fire-spewing duo: jaded with the masculine gender and, having been constantly deceived, hell-bent on wreaking their vengeance...
The Pioneer, 2013, Utpal K. Banerjee
Sansaptak has been performing original theatre in Hindi and Bengali under the playwright-director Torit Mitra with distinction over 20 years. They have now handed over the baton to their youth brigade and the recent Vasansi Jirnani is the outcome... Director Anjan Bose tells that his play Vasansi Jirnani, based on the Argentine-Chilean playwright Ariel Dorfman's Death and the Maiden, deals with the endless cycle of hatred and punishment...
MRITASHAUCHA: OF HUMAN SUFFERINGS
The Hindu, 2014, Diwan Singh Bajeli
Torit Mitra’s latest play vividly portrays the absurdity of human life in the context of sexual exploitation, fragile family bonds, betrayal and social disgrace in a society... The focus of the play is the angst of these women against men as the destroyers of their happiness. They reflect their intense hatred through their delivery of lines, internally motivated movements, music and dance...
The Hindu, 2012, Diwan Singh Bajeli
Torit Mitra’s “Anavrit”, the Hindi version of Bengali play “Biboshon”, poignantly manages to capture individual angst in a postmodernist society... Sansaptak is arguably the only bilingual Delhi-based theatre group that has been actively involved in presenting plays in Bengali and Hindi... Torit sets his theme in the postmodernist society in which the concepts of love, filial obligation, compassion, political ideology and religious beliefs have lost their conventional meaning. In such a deeply fragmented society the individual stands alone, naked...
TAGORE STILL RELEVANT TODAY
Dainik Navjyoti, Kishangarh, 2010, a theatre critic
A collaborative national seminar was organized by Central University of Rajasthan, IRIS, Jaipur and Sahitya Academi, New Delhi at Kishangarh…celebrating the 150th Birth Anniversary of Kaviguru Rabindranath Tagore… Academicians and intellectuals of national repute participated in the Seminar on 26th November 2010… at the end of the seminar, members of the internationally recognized theatre group, Sansaptak, performed an interpretation of Tagore’s Grihapravesh as ‘Nidan’… the eloquent expressions not only enchanted, but also awakened ideological and emotional questions amongst the audience.
HT Live, 2010, Garima Vohra
Experimentation and introspection defines Sansaptak, a Bengali amateur theatre group that was started in 1992. Though the group performs in a regional language, the themes are cosmopolitan and the plays original, written by the founder and director of the group, Torit Mitra. The members of the group believe in everyday theatre...
A FALLEN LEAF OF AUGUST HISTORY
The Hindu, 2008, Romesh Chander
Sansaptak’s “Zawal-e-Azim” made the Moghul Empire’s decline come alive with a rare ferocity... None of us knew Bengali and had doubts if we would sit through it. We not only sat through it but enjoyed every minute.
SPOTLIGHT ON DESIRE OF THE DEPRIVED
The Statesman, 2007, Prithviraj Roy
Based on “A streetcar named desire”, Sansaptak’s “Hari Bhari Khwaish” is a telling tale about the socially marginalized... The contemporaneity of the subject cannot be denied in as much as it gives a rugged exposure of the political venality and social inequities of our time.
NOT AN ANGELIC ASHOKA
The Pioneer, 2007, Utpal K. Banerjee
Devanampiya, the 'Sansaptak' production under Tarit Mitra, draws its name from the Edict-opening: Thus speaks Devanampiya Piyadassi... Capturing the larger-than-life Ashoka intent on founding his pillars, the play mirrors the extant politico-socio-economic turmoil...
FAR AWAY FROM HOME
Kolkata Newspaper, 2007, Mohua Das
A theatre group of probashi Bengalis breezes the town with Ibsen plays... its twin production Bohubrihee and Anik, adaptations of Ibsen's Master Builder and Little Eyolf, at the Academy of Fine Arts... The production was part of Ibsen's 100th death anniversary celebrations that the theatre group had organised last year in Delhi.
Anand Bazar Patrika, Kolkata, 2003, Monoshij Mazumdar
Jagor is inspired from Rabindranath Tagore’s ‘Visarjan’, but it is a new and original play. This play is basically a conflict between state and religion.
THRONE BECOMES A WHEELCHAIR
Anand Bazar Patrika, Kolkata, 2004, Monoshij Mazumdar
Sansaptak, a Delhi based theatre group does radical theatre…A very ambitious play was Macbeth-Macbeth (directed by Torit Mitra). This Macbeth is in much more indebted to Holinshed than Shakespeare. The title of the play could have been “Macbeth through the eyes of a Marxist Playwright”… After the murder of King Duncan, the young Macbeth turns over the wheel chair and keeps rotating its wheels (similar to Chaplin’s Modern Times)… the presentation has sequential spectacles, has a new outlook and new facts…
Sunday Times, Kolkata, 2000, Mohua Chatterjee
‘Hanyaman’ was a gripping play well scripted, well acted and well presented, well coordinated effort of the group spoke through the effective lights, set and background music each player essayed his or her role with sensitivity.
A BENGALI HOMAGE TO BECKETT
Hindustan Times, Debu Mazumdar Mitra's undoubted gifts has one who can effectively combine social mores with wit, humor and banter came into full play in his irreverent take off on Samuel Beckett's land mark "absurd" play Waiting for Godot. Somewhat quizzically, though, he names it as Return of Godot and then ridicules it stating, where is the question of the returning of one (Godot) never comes.
ONE MORE FEATHER IN TORIT MITRA'S CAP
Hindustan Times, 1999, Debu Mazumdar Bohubrihee, a play that takes a studied look into the somewhat schizophrenic world of an unusually obsessed professional.
IBSEN IN BENGALI
Hindustan Times, 1997, Debu Mazumdar Once again SANSAPTAK did it with their own play Anik focusing on complexities and contradictions in relationships which intermittently had its moments of inspired playing.
The Statesman, 1994, by a Drama Critic Garvaj a SANSAPTAK’s play scripted by Torit Mitra inspired by Sam Shepard's "The Buried Child" was a further testimonial of his abilities to carry the maximum possible burden of a script introduced the bahe language.
Hindustan Times, 1993, Debu Mazumdar There is nothing like it when production seeks & succeeds in rising above the constraints imposed by a not very satisfying play & this append with Sansaptak's absorbing production "Nijobash Bhoomey" which stood out for its all round in fact, this was expected of the group which in a short span has established itself as one of the most well equipped one with the additional advantage of having a playwright of its own along with a selected bunch of players.
THE COLOUR OF NIGHTMARE
The Hindu, 2016, Diwan Singh Bajeli
Sreemoyee Dasgupta’s “7 Raison d'etre” is an experimental dramatic piece which projects a dark and bitter vision of contemporary society... Torit Mitra, a painter-turned-playwright-director, is a keen observer of humanity living in a world torn by national chauvinism, war and mutual distrust . His plays staged by Sansaptak, a leading theatre group, are rich in metaphorical meaning and the design he himself conceptualises transforms his plays into an intense visual poetry, projecting nightmarish world of modern man...
CR PARK THEATRE GROUP LETS ARTISTES LIVE THEIR DREAMS
Hindustan Times, 2016, Snehal Tripathi
"We do theatre, we do life!" These are the words that young and old members of the theatre group Sansaptak swear by every evening... "An artist is an artist, whether he is sleeping, eating, talking or doing nothing at all!" says CR Park based Torit Mitra, who is the guru, playwright and director of Sansaptak...
The Statesman, 2011, Anindya Kanti Biswas
Young Anjon Bose's debut directorial venture for theatre group Sansaptak was Torit Mitra's Vasansi Jirnani, inspired by Chilean playwright, Ariel Dorfman's 'Death and the Maiden'... Even though this was the first effort by Anjon Bose; that Sansaptak is adept at taking on such challenges was evident. Each and every participant worked like a team...
NA HANYATE FILLS THE SHORTAGE OF SERIOUS THEATRE: THEATRE REVIEW
www.humrang.com, 2015, Abhinav Sabyasachi (Translated from Hindi)
Sansaptak, through the play Na Hanyate performed at JNU's Conventional Center on 12th October 2015, highlights the discourse presented by Albert Camus, yet again... It is a remarkable achievement by the young director Anjon Bose, to select such a strong play in a time where plays dealing with serious subject matters seems to be lost in oblivion...
The Hindu, 2010, Diwan Singh Bajeli
It is probably the first work on the Hindi stage which analyses Shakespeare’s Macbeth against the historical backdrop in which Shakespeare worked…Playwright-director Torit has treated different time levels in different styles…This is a serious play which raises dialectical debate about the development of human society…
THE HEART OF DARKNESS
The Hindu, 2010, P. Anima
Garbh is decidedly dark…Staged by Sansaptak at LTG auditorium this past week, the play in Hindi and Khortha, directed by Torit Mitra, is pregnant with meanings – political and social… Land, taming it and engaging with it, is an underlying aspect of ‘Garbh'...
FOCUS ON ... TORIT MITRA
Time Out Magazine, 2008, Ishanee Sarkar
Less than a month after M. S. Sathyu’s ‘Dara Shikoh’ was staged in Delhi, Torit Mitra presents ‘Zawal-e-Azim’, a Bengali language play that also deals with the Mughal Empire and the factors that led to its downfall... What is Zawal-e-Azim about? My play is about the downfall of the colossal Mughal Empire...focussing on the people, emotions and relationships rather than the socio-political aspects... Such as? I have largely contrasted Aurangzeb’s politics against his brother Dara Shikoh... What kind of research went into writing the play? I studied books written by historians, especially, B. C. Lal and Sir Jadunath Sarkar... Why choose a historical play though? I wrote Zawal-e-Azim as a tribute to well-known Bengali playwright Dwijendranath Roy... Are the sets designed to reflect the grandeur of that period? I purposefully kept it simple since I did not want the sets to dominate the story... Why did you choose to stage this play in Bengali? Bengali theatre is highly marginalized in Delhi. I want more people to come and watch Bengali drama and appreciate it...
LIVING THE REVOLUTION
The Hindu, 2008, Diwan Singh Bajeli
With “Na Hanyate” Sansaptak continues its string of artistic plays with social concerns…“Na Hanyate” presented by Sansaptak this past week at LTG auditorium probes the role of violence in a revolutionary movement that seeks to replace an oppressive socio-economic and political order with a free and just system.
FOCUS ON ... TORIT MITRA
Time Out Magazine, 2008
Since 1992, Mitra and his group, Sansaptak has staged plays in Bengali. He spoke to Time Out about his first foray into Hindi theatre. What is the play about? It deals with migration- people who come to the city with great hopes, but often end up as criminals or beggars… Did writing the play require a lot of research? In some ways, no- it comes out of living in Delhi; it is document of modern urban problems…. You wrote the play in Bengali. What made you decide to stage it Hindi? In Delhi there is a very limited audience for Bengali theatre… more over the play rings true in Hindi… Why is the Hindi version named Hari Bhari Khwaish? In my play there are two buses- the one going to the city is called Hari Bhari Khwaish and the one which appears in the end is called Qayamat Se Qayamat Tak.
Unmukto Ucchaash, 2005, Debabrata Sarkar
It is a play about the slum-dwellers of South Delhi, rather, a play about their naked lives and language.
FABLES AND PARABLES
The Pioneer, 2005, Utpal K. Banerjee
In contrast to folk fables, the epics offer lofty parables that illustrate the enduring morals of life... Atmadaho, by Delhi's based Sansaptak brought to the fore the elderly trio of Mahabharat... they indulge into animated discussion, bordering on lacerating arguments on the past deeds and misdeeds of their progeny, and stumble upon many unexplored relationships...
A PLAYWRIGHT WHO BELIEVES IN EXPERIMENTING
Flash, 2000, Aasheesh Mamgain
“Theatre for me is like oxygen as well as a poison." This statement by Torit Mitra underlines the importance of theatre in his life… “Writing plays is not simple. Every aspect of human nature should be understood. What goes on in the society and in the whole human environment needs to be studies before one venture into play writing.” Sadly there are not many writers with such ability, intent and deep understanding of theatre…