Tuesday, May 31, 2016
Saturday, April 30, 2016
Shoptodina Foundation, the brain child of Dr. Tamal Dasgupta, has been doing pioneering work related to Bengal and Bengalis especially through their academic mouthpiece The Journal of Bengali Studies. Under the aegis of this foundation on 15th April, 2016, a seminar was held in Mahabodhi Society Auditorium, Kolkata, titled “Towards Classical Status for Bengali Language”. In the sweltering heat of an April day the heritage structure saw intellectuals from different fields engage in a discussion that at some point in time will prove decisive in gaining the classical status for a language that is a heritage of Bengal. It is not only a matter of pride for the Bengalis that this initiative is being taken; it also opens up logistical and infrastructural facilities for the upliftment and spread of the language which is being compromised in usage due to the constraints of not being the language of currency on a global platform in more sense than one.
The seminar, divided into two sessions on both sides of lunch, saw speakers express their thoughts on the issue in hand from their angles of vocation and research interests. The seminar began with a very interesting paper presentation with audio-visual aids by Dr. Swarup Bhattacharya on the topic depicting the transition through the ages of the boat of Bengal. Bengal being a major coastal area from where river and sea navigations have taken place since time immemorial has seen boats as central to the livelihood of its people and at a metaphoric level it symbolizes the spirit of Bengal and its classical anteriority. Language is as intrinsically linked with livelihood as nothing else can be. After this presentation Tapoban Bhattacharyya spoke on Bengal’s so-called first monarch Sasanka. He pointed out that at school and college level history books the space dedicated to the rule of Sasanka is being shrunk and given just a cursory mention and thereby a sort of elision is happening that is detrimental to the glory of Bengal.
Raibatak Sengupta followed it up with a speech on the status of Bopdev, who is seen variously as Bengali and Marathi due to lack of any well-researched evidence. The speaker iterated that time demands an appropriation of this legendary figure of history so that the grayness disappears. It was then that Dr. Arjundeb Sensharma made his crucial presentation detailing how proto-Bengali language developed since Sasanka’s time and has directly descended into the modern form that is prevalent now. He gave arguments on why Bengali language should be accorded the status of classical language. Later Dr. Piya Biswas discussed Charyapadas and how they are part of the development of Bengali language from its proto origins (and not exclusively precursors of Oriya language). Anirban Das too argued for the classical status for the Bengali language and presented evidence of the antiquity of this language. Rituparno Chattopadhyay’s speech with the help of a Powerpoint Presentation was on the trade of Bengal and how the seals of Bengal prove the prevalence of a proto language that is the antecedent of present-day Bengali.
The penultimate speaker of the seminar was the Chief Guest himself, the noted poet and academic Subodh Sarkar. He regretted the facts that we live in a country where a language like Sanskrit gets the classical status after Tamil, where there are no speakers to argue for the classical status of an ancient language like Pali, and where Oriya gets classical status but not Bengali yet. He zeroed on the cause that the lack of unity amongst Bengali-speaking people has led to this state of affairs. He blamed the upper-middle class Bengalis who give little importance to their mother tongue and favour English instead. He promised all help if the demand is made to grant the classical status to Bengali language. Dr. Tamal Dasgupta summarized the proceedings and presented his own view point at the end of the seminar. He argued for the need of classical status for Bengali language, and elaborated the stakes that the Bengalis have in this battle, and what they stand to lose if they do not engage into this struggle for classical status. Extensively referencing Suniti Kumar Chattopadhyay's magnum opus ODBL (Origin and Development of Bengali Language) Dr Dasgupta offered a cogent case for the language of Charyapadas being identical with old Bengali. He cautioned against the continuous poaching of Bengal's heritage at the hands of various vested interests, mentioning Jayadeva as a case in point. He further said that everything that stands for the pride and glory of Bengal is gradually getting eroded and it is time that Bengalis realize the precariousness of the situation and take proactive measures to address the issues that are at stake. His speech made it apparent that if the alarm is not sounded today then it might be too late.
Monday, March 28, 2016
Rhythm Divine Poets group celebrates it first birthday on 12th March at Cocoa Bakery (New Alipore) organized by Kushal Poddar, Sana Mohammed and Swasti Jaiswal.
Rhythm Divine Poets organizes the Kolkata chapter of 6th Woman Scream International Poetry and Arts Festival at Mandeville Gardens on 26th March, 2016 coordinated by Women Poets International -
Prof. Sanjukta Dasgupta in conversation with me in Incredible Women of India e-zine
Lopa Banerjee interviews me and Kushal Poddar in Learning and Creativity e-zine
Friday, February 19, 2016
My story "Love and Hate" is the featured story in Wordweavers Contest 2015. Read it here:
My poem "Silverfish" published in the New Year 2016 Literature Special issue of Learning and Creativity e-zine. Read it here:
My poem "Love in the Time of the Atom Bomb"published in the anthology The Red Balloons: A Journey of Love released on Valentine's Day.
My poem "Create to Inspire" published in The Dawn Beyond Waste Anthology released at ICCR on 9 February, 2016.
Poetry Meet at the residence of Prof. Jharna Sanyal on 14 February, 2016.
Poetry Reading at the Launch of Chandana Khan's book The Shadow Women at Kolkata Book Fair Media Centre on 7 February, 2016:
Saturday, January 30, 2016
My short story "Harappa" was awarded the fifth prize in the 2nd Bharat Award 2015 short story competition.
Read my poems "Silence" and "Corner" published in the December 2015 issue of Hall of Poets e-zine here:
Read my poem "A Killing", which is the featured poem at the Wordweavers Poetry Competition 2015 here:
Read my poem "A Killing", which is the featured poem at the Wordweavers Poetry Competition 2015 here:
Read my review of Ananya Chatterjee's third collection of poems The Blind Man's Rainbow here:
My performance at Mudra Arts Workshop
My performance at the cover launch of Sutapa Basu's novel Dangle
Wednesday, December 9, 2015
Rhythm Divine Poets’ Poetry Meet on Colours at Art Fair
Rhythm Divine Poets group organised a gala poetry meet at the fifth season of Sufia’s Art Fair (Chemould Art Gallery) on Sunday 6th December, 2015. This was second such association, the first being at last season’s Art Fair. Art Fair 5 was inaugurated on 4th December by noted photographer Kaunteya Sinha, fashion designer Lopamudra Mandal Saha, artist and professor of RBU Sohini Dhar, and social activist Urmi Basu of New Light. The fair is on till 8th December. The first day also saw the performance of the noted singer Tapasi and her band. On Saturday the Art Fair hosted the book cover launch of Defiant Dreams: Tales of Everyday Divas edited by Rhiti Bose and Lopa Banerjee. The event was followed by songs by the talented singer Tiasa Ray.
Art Fair has long been the place where poetic jamming has taken place before any poetry groups came into vogue, other than a few niche ones, and poets have always looked forward to it. This time it was no exception. There was increased participation from poets who love the warmth of the event and the quality of the poems recited. The theme of the day was “Colours” and amidst an atmosphere of art, paintings, photography, craft, lifestyle products and music poets sat and recited in front of an august gathering. Among the guests were Prof. Jharna Sanyal, former Head of the Department of English, Calcutta University, and Shri Dinesh Vadera of Mudra Arts. Both Prof. Sanyal and Dineshji are themselves poets. Prof. Sanyal has also been the judge of the Rhythm Divine online poet of the month contest. It was a privilege to have such eminent personalities at the meet.
The evening started with the felicitation of the guests and the awarding of certificates to the online poetry competition winners Niladri Mahajan and Ipsita Ganguly. Among the poets who read their poems mainly on the theme “Colours” and wore the colour they recited on were Kushal Poddar, Niladri Mahajan, Ipsita Ganguly, Aiman Abdulla, Ranjani Chowdhury, Bob D’Costa, Sana Mohammed, Rahul Mall, Samrat Dey and others including the hosts Sufia Khatoon and Amit Shankar Saha. Prof. Jharna Sanyal as well as Shri Dinesh Vadera too read their compositions. Dineshji’s poem was in Gujarati and so for the first time there were poems in English, Bengali, Hindi, Urdu and Gujarati recited at a single event of Rhythm Divine Poets group. Prof. Sanyal was impressed by the compositions of the poets. Some of her old students like Lopa Banerjee and Anindita Bose too joined later. The evening saw a fitting culmination in an enthralling musical performance by Samrat Dey. Rhythm Divine poets group is thankful to all those who turned up to make this event a grand success.
Wednesday, November 25, 2015
Read my story "Love and Hate" currently longlisted for Wordweavers Contest 2015 - http://wordweavers.in/2015_short_story_longlist_amit_shankar_saha.html
Wednesday, October 28, 2015
My poem "A Killing" has been shortlisted for Wordweavers Poetry Contest 2015. Visit http://wordweavers.in/2015_poetry_longlist_amit_shankar_saha.html
Monday, September 28, 2015
Rhythm Divine Poets group hosted 100 Thousand Poets for Change (www.100TPC.org), a global initiative where more than 570 cities around the world hosted poetry meets on a single day. Rhythm Divine Poets hosted the meet in Kolkata at 8th Day Cafe and Bakery. The event comprises of music by the band Kolkata Music Diaries, felicitation of the poets of the month online contest, performance poetry and open mic poetry. Glimpses from the event...
For more visit 100 Thousand Poets Kolkata event blog link: http://www.100tpcmedia.org/100TPC2012/2015/08/amir-shankar-saha-kolkata-india-2015/
Wednesday, August 26, 2015
Read my review of Saikat Majumdar's new novel The Firebird in Being Bookworms - http://beingbookworms.blogspot.in/2015/08/the-firebird-story-that-captured-our.html
Read my report of the discussion on Avik Chanda's latest novel Anchor in Being Bookworms - http://beingbookworms.blogspot.in/2015/08/readers-and-writers-club-initiates-avik.html
Read, vote, rate and comment on my poems at the Delhi Poetry Challenge here - http://www.readomania.com/author/amitss6
Friday, July 31, 2015
Wednesday, June 24, 2015
On 21st June 2015 (Sunday) a group of poets of Rhythm Divine visited A. J. C. Bose located St. Joseph’s Home. It was a novel experience to be among the elderly and the ailing and share with them poems. Poetry has a therapeutic aspect and this was explored during the visit. The inmates of the home loved the poems recited by the poets and enthusiastically interacted with the poets. Listening to people residing there also gave the visiting poets a new insight into the lives of the elderly living away from their near and dear ones. Sister Anne was kind enough to allow the visiting poets to take a tour of the home and have a look at the facilities. The poets who visited were Amit Shankar Saha, Sufia Khatoon, Anindita Bose, Payal Gupta, Niladri Mahajan and Satabdi. These poets formed a connection with the inmates of the home and were enriched by the experience while reciting their poems.
Thursday, May 14, 2015
* An Amazing Experience! Poetry has fascinating powers. It makes people do things unimaginable otherwise. Who would have thought that I would put aside my reservations and inhibitions and be on air one day? Yet, there I was on Friday, 8th May, 2015, at 94.3 FM Radio One Studio live with RJ Arvind on the programme Rhythm Divine - Poets on Air from 1 p.m. to 2 p.m. Encouraged by my fellow poets I let my verses resonate with the vibrations of the air waves caused by retro music of Radio One. Arvind made me feel relaxed during the hour-long programme. Sufia stayed by my side to keep my spirits up. Anindita trained me the previous day to put proper stress on syllables while reciting poems. Ananya advised me to pause and emote. Sharanya goaded me to go. And the best wishes of Chumki, Rahul, Saranya, Sana, Siddharth, Shruti, Radhika, Niladri, Junaid, Sam and other members of Rhythm Divine made my day. I cannot than all of them enough. Even though I may have failed to live up to their expectations, it was a truly amazing experience. Thank you Arvind for gifting me a memorable recitation of Gulzar and a memory to cherish. I am indebted to all who added a new dimension to my life.
|RJ Arvind and Me in the 94.3 Radio One Kolkata Studio|
Read my short story "Our Lost Friend" in the Journal of Bengali Studies Vol.4 No.1 Summer Issue 2015 on the theme of Bengali Music: Bengalis and Music, Pp. 104-109:
Monday, April 27, 2015
Legend has it that the
Amazonian women showed amazing prowess and did exceptional feats. If such a
characteristic is to be found among my friends then it is to be in Sufia Khatoon, the curator of Art Fair IV. But that is too short an
introduction for Sufia for she is much more - a poet, a painter, a quilling
artist, an anchor, a journalist, and many more. If the prefix “multi” is to
find a right home then it has to be in the description of Sufia for she is
always multi-tasking and is so multi-talented. Attending the inauguration of Art Fair IV at Chemould
Art Gallery in Park Street, I was floored by her organisational skills and
pleasing demeanour. From contacting new and upcoming artists and curating their
art work to inviting and hosting the guests and making the whole occasion a
success, she does everything single handed. The Art Fair is in its fourth
season and on from 26th April to 30th April. But that is not all. Each day of
the Art Fair is dedicated to other activities too. There are musical performances,
poetry adda, photography workshop, quilling workshop, etc.
The inauguration on the 26th of April was a grand affair with eminent
guests like film director and theatre
personality Ashoke Viswanathan,
percussionist and musician Tanmoy Bose and Associate
Director and PR Supreeta Singh gracing
the occasion. The opening day also included performances by bands like Kolkata Music Diary and members of Urotaar, an NGO
which specializes in performing street plays. There was an
impromptu poetry session too and the whole joie de vivre of the occasion
encapsulated the spirit of art and artist’s expression. Emerging artists like
Rahul Mall, Anindita Bose, Vasu Agarwal, Moumita Ghosh and not to forget Sufia
Khatoon herself as well as others get to display and market their paintings,
photographs and other art works. Sufia’s poetry group Rhythm Divine, which has a close association
with Poetry Couture, presents on
the 29th of April an open mic poetry adda at 3:30 p.m. at the gallery. Such
activities, not only enriches the Art Fair but the association of allied art
forms improves the culture of the society as well. In fact this very fact was
reiterated by Ashoke Viswanathan in
his opening speech.
So here I am wishing Art Fair 4 a resounding success and all the
artists a great time. My heartfelt gratitude goes to Sufia for all her
activities and hope her creative output overflows. Congratulations dear!
My poem "Incredible Woman" has been published in the Incredible Women of India Blog. Read here:
Friday, March 27, 2015
Day 1: “Rosebud”
What is a seminar, if not, as Professor Chinmoy Guha said, a festival of thoughts? The UGC Assisted DRS (SAP III Phase III) National Seminar on “Connecting Texts: Literature, Theatre and Cinema” organised by the Department of English at CSSH Auditorium (Calcutta University, Alipore Campus) from March 23 - 25, 2015. As soon as the seminar was inaugurated by the Pro-Vice-Chancellor, Prof. Dhrubajyoti Chattopadhyay, the Keynote speaker, the enigmatic Dr. Kunal Basu, decided to descend from the high table reserved for the speakers, and came on the floor of the hall to speak. He presented three sets of conjectures - (1) Fiction to film, (2) Fiction as film and (3) Film as fiction. Kunal Basu reminded us of the unforgettable sequence in the movie Citizen Kane, when the eponymous protagonist in his Xanadu pronounced that last word “Rosebud,” which gives a notion of the preciousness of memory. The author of the that magnificent novel, The Miniaturist, where the central character Bizhad brings alive a historical period, said that it is the memory of clues that the author leaves in the text for the readers that has to correspond when there is a transcreation of fiction to film by the director. Basu enumerated five relationships between fiction and film in the said transcreation - (1) Translation (eg. The Birds), (2) Adaptation (eg. Maqbool), (3) Contradiction (eg. Noah), (4) Inspiration (eg. Apocalypse Now) and (5) Empathy (eg. The Japanese Wife). He also pointed out, in the words of Gabriel Garcia Marquez, that the problem with cinema is that it is “a mass creative process.”
Coming to the second conjecture, Basu explained that some literary works are so discursive in nature
(with interior monologues and
stream-of-consciousness techniques) that they can never be made into successful
films. Thirdly, while talking about film as fiction, the Professor at Said
Business School, Oxford, raised the question that, since the film and the novel
both portray the vastness and the depth of the human condition, will there be a
time when novels will become obsolete? In the end Kunal Basu expressed how his
love for cinema grew when he was a child
actor in Mrinal Sen’s Punascha; how his regret with cinema lay in
the fact that Sam Mendes did not thank Michael Ondaatje when The English Patient won the
Oscar; and how his frustration with cinema becomes evident when that medium
stifles other arts.
|Pic Courtesy: Arindam Ghosh|
|Pic Courtesy: Arindam Ghosh|
After Kunal Basu’s enriching presentation it was the turn of the renowned poet and film director, Buddhadeb Dasgupta, who rather polemically said that film and literature are two independent media and despite convergence, one does not subsume the other. That is why he does not choose literary narratives to film upon. Dasgupta, whose movies, like Tahader Katha, Charachar and Uttara, have often been termed by critics as poetic cinema, acknowledged that, unlike Ray, he does not use narratives as much as images in his film-making. As a kid, Dasgupta was taught by his mother of how many things one can do without. He developed the idea further into how many words one can do without when he became a poet and how many shots one can do without when he became an auteur. The director, who often fetches images from memory, dreams and visions for his films, also stressed the importance of cinema and poetry to make better human beings. The third speaker before lunch break was the inimitable Barun Chanda, the protagonist of Ray’s Seemabaddha. He explained how Ray, who knew the language of literature as well as the language of celluloid, took liberties with Sankar’s text to create a silver screen masterpiece. From the description of Dalhousie’s 5 Council House Street to the haunting refrain (seta bhalo na kharap) in Shyamalendu’s sister-in-law’s voice, Ray creates a master class in cinematic endeavour. Barun Chanda’s talk, interspersed with scenes from the film, was enthralling.
|Pic Courtesy: Arghya Tarafder|
The lunch break amidst the luminaries was special as it gave me an opportunity to interact with Kunal Basu and get his autograph. In the post-lunch session it was Prof. Madhuja Mukherjee, who traced the trajectory of a tune, from Mozart’s Symphony 40 to Salil Chowdhury’s rendition of it in “Itna na tu mujhse pyar barha” (Film Chhaya) to Tridev’s “Gali gali mein phirta hai” to A. R. Rahman’s “Jai ho”. In doing so she mentioned the Hungarian rhapsody of Barsaat and Nazia Hasan’s Disco Diwane, the era of gramophones and the era of audio cassettes, the time of radio and the time of technologically-driven digital sound to display the use of music in popular cinema. She was followed by Debasish Deb, who talked about Satyajit Ray as illustrator and the posters Ray made for his own movies. The final speaker of the session was the art critic Manasij Majumdar. He depicted Turner’s painting The Slave Ship, and Rushkin’s description of the same to presage a rich presentation on Art and Literature: An Interface. The last event of the day was the exclusive screening of a new documentary on Mrinal Sen, directed by Nripen Gangopadhyay. The exclusivity was evident in the fact that the documentary has not yet been seen by the veteran film doyen Mrinal Sen himself.
|Pic Courtesy: Arindam Ghosh|
Day 2: “Chaos”
|Pic Courtesy: Arghya Tarafder|
If on the first day there was a struggle between the narrative and the abstract, on the second day the seminar transcended to the realm of the conceptual. The first academic session chaired by Prof. Tapati Gupta had Sohini Sengupta, the actor with big eyes, who has essayed roles in films like Paromitar Ekdin and Alik Sukh and in plays like Madhabi and Nachni, narrating about her fascinating journey as a performer but the abstract of which was that how she sees a text as a gift to the actor and the actor’s performance as a gift to the audience. The next speaker, Prof. Duttatreya Dutt of RBU, started by saying that Aristotle was not the father of literary criticism but theatrical criticism. What is read as drama and considered part of literature is merely the transcription of actors’ dialogues. He concluded by saying that drama is something more - the action and reaction of performers as well as other people.
In keeping with conceptual abstraction as the order of the day, the second session, chaired by Prof.
Krishna Sen, had Prof. Sanjay
Mukhopadhyay of JU, talking about Picasso’s Guernica. He showed Resnais
and Hessens’ documentary on this, arguably, most famous art work of the 20th
century, which captured the pain in the abstract. Later in clippings from films
like Ritwick Ghatak’s Komal Gandhar and Meghe Dhaka Tara, Prof.
Mukhopadhyay showed how in films the level of representation is transformed to
the level of conceptual. He said that this is possible because of the quality
of “literariness,” not only of literature but of all art. In the post-lunch
session, the chair, Prof. Dipendu Chakraborti, complimented the quality of food
being served but warned that it may act as a tranquilliser. The first to speak
was Prof. Sudeshna Chakraborty, who spoke on “Drama and Literature through the
Eyes of Utpal Dutt.” It was followed by Dr. Sinjini Bandyopadhyay’s perceptive
paper on Shaoli Mitra’s Nathabati Anathbat. With readings and audio
recordings of the play, she showed how Shaoli Mitra used the character of
Draupadi in the kathokatha form to draw a connection between the past
and the present. The last speaker of the day was Prof. Nrisingha Prasad
Bhaduri. Some may remember him from the 2009 DRS Conference, where he cited
examples of ancient Indian Sanskrit writers, who were women. This time he took
the idea of the conceptual to depict the origins of drama in Sanskrit. “Natak,”
he said, is a mock show and the origin lies in “Nat”, which Panini describes as a kind of chaos. When Bharatmuni
went to Brahma to ask him to conceive something that will be accessible to all,
then Natak was born. He said that in Som Yagya’s “mahabrata” there is
the necessity of a “natak” between the Yajur-rishis and Nishad, who procures
the somlata. When Prof. Bhaduri started speaking about the opening
sequence of Kalidasa’s Sakuntala, Prof. Sanjay Mukhopadhyay interrupted
him on the pretext that Prof. Guha’s regulation of time-bound sessions did not
give him the opportunity to show how the opening scene of Komal Gandhar,
which corresponds with the technique used in Sakuntala. The chaos thus
created made “natak” a part of this festival of thoughts. The day did not end
there but order was restored in the melodious rendition of Tagorean lyrics,
which Tagore had set to tune inspired by Upanishad shlokas (Anandaloke),
Scottish and Irish folk songs (Auld Lang Syne/ Purano sei diner katha),
Carnatic music and Brajabuli (Gahana kusuma kunj majhe) by the duo, Jaya
Bandyopadhyaya and Adrija Bandyopadhyaya. It was truly a thrilling day of
|Pic Courtesy: Arghya Tarafder|
Day 3: “Matrix”
|Pic Courtesy: Ishani Ray|
The last day was an invigorating day devoted to student paper presentations. Arindam Ghosh (CU) showed that Samuel Beckett’s screenplay of the movie, interestingly titled, Film, is actually a film about absence. Asijit Dutta (JU) said that in Beckett’s Unnameable there is dilution of language and selfhood, which cannot be framed by the camera. Samudranil Gupta (Presidency) said that Suman Mukhopadhyay’s adaptation of Nabarun Bhatacharya’s three short stories into the film Mahanagar@Kolkata is doubly performative. Sayantina Dutta (CU) showed the visual attainability of R. K. Narayan’s Swami and Friends and Malgudi Days on the screen. Sharanya Dutta (CU), on the other hand, showed how the transcultural adaptation of Great Expectations by Alfonso Cuaron in 1998 transformed a Dickensian classic to a petty Hollywood romance. Swagata Chatterjee’s (CU) paper was on how Ray put the two characters Goopy and Bagha in both social and political context in Hirak Rajar Deshe. Bidhan Mondal (KU) showed how in the movie Cosmic Sex the concepts of “Brahmacharya” and “Devatatta” of the Bauls are used. Rajarshee Gupta (yes, the whisky priest of the Departmental production of The Caucasian Chalk Circle is now a DRS fellow) delved into the archives to tell us how the Jataka story and its versions were transformed by Tagore in his dance drama Shyama.
An interesting incident happened in the session before lunch. Kalyan Ray, the author of Eastwords,
came to the seminar and of
all places chose to sit beside me and then he spoke. Therefore, now I can vouch
for his baritone voice that many of us have heard most memorably in the movie Antaheen.
The post-lunch session started with a paper by Sujan Mondal (JMI) on how Paul
Scott’s The Raj Quartet was adapted into the TV serial The Jewel in
the Crown and its representative and reproductive significance. Debashis
Biswas (CU) spoke on the cinematic adaptation and transcreation of Chitrangada.
Adharshila Chatterjee’s (CU) paper was on the politics of bodies in the Hanibal
Lecture series and American Psycho. [Prof. Santanu Majumdar, chairing the
session, opined that he is partial to this paper as he has always been
fascinated with murder and violence.] Pranab Kumar Mandal (CU) raised the
question, “Is there an audience in the dark?” to explore the existence of a
fourth wall between the stage and the audience in proscenium theatre. Nisarga
Bhattacharjee (CU) showed how in the Matrix movie trilogy there are three
levels of relatedness. Reshmi Balakrishnan (EFLU) decolonized Pandora’s and
Crusoe’s island while Soumik Banerjee (CU) reinterpreted the novel and the film
Sabuj Dwiper Raja. The last speaker was Tirthankar Sengupta (yes,
remember him from the staging of Pirandello’s Six Characters in Search of An
Author) who showed the fluidity of text and context in Brecht’s The
Caucasian Chalk Circle in its numerous adaptations.
|Pic Courtesy: Sayantani Mukherjee|
|Pic Courtesy: Arghya Tarafder|
At the end of the seminar the DRS Coordinator, Prof. Chinmoy Guha, and Deputy Coordinator, Dr. Sinjini Bandyopadhyay, thanked the guests, speakers, professors, volunteers and all the participants for making this seminar a success. A spontaneous counter thank you went to both of them for the vision to have a festival of thoughts and making it a reality.
|Pic Courtesy: Koyel Halder|
And a special thank you goes to the former and the present DRS fellows, Saptarshi Mallick and Rajarshee Gupta, respectively, who exhausted themselves doing the legwork and the overheads that such a seminar demands.
[All pictures are taken from the public domain of Facebook and used here for non-commercial purpose in good faith. All efforts have been made to give proper credits. If there is any objection then do let me know.]