SANSAPTAK'S ARTISITIC MOVEMENT - THEATRE OF THE DARK
Manifestation of Light & Reconnaissance of Action
It is a 21st century Avant Garde Theatre & Art movement derived from a very effective and ambitious project ‘Everyday Theatre’ ; designed & visualized by Torit Mitra (our Guru) and practiced by Sansaptak ( a group for theatre), New Delhi. As it is well established that theatrical art is most unpredictable; so to tackle this unpredictability, artistes have to ACT EVERYDAY, EVERY MOMENT! Relentlessly working and researching, based on social sciences and practices prophesized by the root idea: “We do not do theatre, we do life”; these enquiries are based on works & thoughts derived from the discourse of the plays written by Sh. Torit Mitra for the last 25 years. The nature of the movement is experimental and reconnaissance of the concept of Dark or Darkness, that recurs in Sir’s plays as a social philosophy. As he loves to put it -“The light of the star is submerged in the light of the day”.
DIRGHAYAMA (The Longest Night)
Series of solo performances, written by Sh. Torit Mitra and Directed by Sh. Anjon Bose, is interweaved with a single theme Dirghayama ( A longest Night). Dirghayama has been performed in New Delhi, Kolkata and Bangladesh.
The wisdom or knowledge that we as humans cherish and practice, has actually led us to unfortunate consequenses. The apparent light of reason is appearing darkest night. Theatre of the dark is a discovery of truth in human nature, a search of dark and effect of dark on human life.
ANTARAAL (The Inner)
Written and Directed by Sh. Torit Mitra, Associate Director & Dramaturge Smt. Sreemoyee Dasgupta and Designer, Sh. Anjon Bose. Performed by Sh. Dipankar Khan, Smt. Aparna Banerjee and Sh. Saranendu Chaki. Often we listen to ineffective debates and confessions discoursing the purpose of life and death; reflecting abstract or intangible thoughts of the bizarre self-vaunting forlorn humans who do not have faith in anything divine or auspicious. Less changes have occurred in theology than in the internal moral character of humans in the 20th century. Perhaps, morality has become our soul identity. Opposing ideologies or intentions do not bewilder us anymore. Existentialist angst is not a violence or a torment any longer. It can be said that it is now an endeavor or a commitment. Even in such a precarious situation, there are rare instances to search divinity through the white velvety clouds. Even after the degradation and destitution, man wants to free himself from the inevitable fatigue. He wants to unshackle from his entrapment and stand hand in hand with nature. He wants to listen to the birds singing songs. Perhaps, there is still hope that man wants to live free.
A thought or an idea is a mere abstract experience that does not have any shape or form. Just like the fetus in a mother's womb that is unaware of the cardinal directions of the world, until touched by reality.
Garbh is a play of mental process and dilemma. The play written by Sh. Torit Mitra and directed by Anjon Bose, portrays a very personal crisis of a farmer, Sukhdev Puswa's family of Jharkhand. Like a mystery plot the story unfolds with the arrival of the youngest family member, Vishweshwar, with his friend, Swarnarekha, both students of anthropology in Delhi University. The curiosity to research about suburban India leads to a series of questions put up by the friend, who senses something fowl within the family's history. A horrendous sin committed in the past has led to suffocation and a depressing darkness upon the family, eating away at the very fabric of this social institution. The mental trauma and impasse they go through creates friction, thus, revealing the socio-economic and political decadency of each member. The situation becomes more mysterious when an infertile land, left barren for years, becomes fertile again, causing the questions to spread like a pandemic throughout the family. More hidden truths fall tumbling out of the closet, reaching the brim of breaking all traditional values and morals. The only remaining strength is induced to fight for survival between man-made society and the laws of nature.
Written and directed by Sh. Torit Mitra, the play offers two parallel story-lines.
The first is the discovery of the ruins of Chittaranjan Park, a Bengali community in New Delhi, by Anthro-Archaeologists Dr. Sandhan Pal and Dr. Mudra Chakrabarty, in a timeline set in the near future. Both are trying to figure out the reason behind the migration of the Bengalis.
The second is the present situation of a headstrong couple, Aditya and Sunetra, who have sold Aditya's paternal property and migrating to Greater Noida to suffice the financial needs for supporting their daughter, Sunanda's higher education. Before leaving the house, they break every wall to destroy the old order and create newer possibilities. Nonetheless, they are contradicted by Aditya's mother-in-law, Kusumika, who believes in nurturing and preserving history, values and traditions.
The couple are, however, supported by Janardan, their promoter and the owner of Xanadu Associates, and a non-verbal man is constantly present in both the stories who keeps jumping time & space.
'Pratnatatya' depicts the evolution of man that migrates for upward mobility, while the omnipresent proletariat roams the world timelessly.
SHABDA O SVASTIKA under Art & Cultural Festival Vasundhara
SANSAPTAK has always favoured feminist pro-activism and supported women liberation and free will. VASUNDHARA, led by Sh. Torit Mitra and Smt. Ruma Bose, was one such festival that redefined and broke the boundaries gripped by fallacies of the patriarchal society. The event celebrated 'womanhood' as the Golden Blossom who is All-bearing, Giver of Prosperity and the Foundation that is Earth. The four solo plays are seen as the ultimate sign of revolt by women against a patriarchal society and polity. The four plays are Roopantor (Mrs. Samsa from Kafka's Metamorphosis), Botshola (inspired from Antigone), Matrighaat (the murdered old pawnbroker / landlady from Dostoevsky's Crime and Punishment, and Omisha (Representation of Death as a woman).
Sansaptak's 'Hours-144' is an intimate studio theatre festival of 8 micro-plays within a span 4 days under the group's artistic movement 'Theatre of the Dark'. The endeavor is an extension of the group's theatre activism orientation curriculum, wherein the disciples learn and execute a play within 144 hours, i.e. 6 days with the final performance on the 7th day, while handling design and direction, casting, acting, research and development, theatre administration and management, costume, lights, props, stagecraft, archive, music, make-up, graphic design and PR. It can well be said to be a training program to become a total theatre activist.
Studio AGON, K-1/71, Basement, Chittaranjan Park, New Delhi - 110019
ENTRY FREE, all are invited
2nd March 2019
Return of Godot
Written by Torit Mitra, translated by Sreemoyee Dasgupta, Directed by Sachin Bisht
Written by Torit Mitra, translated by Sreemoyee Dasgupta, Directed by Aman Srivastava
3rd March 2019
Written by Torit Mitra, translated by Sreemoyee Dasgupta, Directed by Sukhdev Singh Narang
Written by Torit Mitra, translated by Sreemoyee Dasgupta, Directed by Vivek Kumar
16th March 2019
Written by Torit Mitra, translated by Sreemoyee Dasgupta, Directed by Ved Prakash Gupta
Written by Sashi Guha, trans-created in Hindi by Sreemoyee Dasgupta, Dherya Jain & Sachin Bisht, Directed by Dherya Jain
17th March 2019
Written by Sujeet Shyam, Directed by Shreya Banerjee
Written by Shishu Chandam, Directed by Pratyush Bhardwaj