Volume II,Issue IV, March 2026
Volume-II, Issue-IV, March, 2026 |
Received: 09.03.2026 | Accepted: 13.03.2026 | ||
Published Online: 31.03.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.issue.04W. | |||
বাদল সরকারের নাট্যসংলাপ ও কাব্যিক প্রকাশ সাহেব দাঁ, গবেষক, সিধো-কানহো-বীরসা বিশ্ববিদ্যালয়, পুরুলিয়া, পশ্চিমবঙ্গ, ভারত |
Saheb Dan, Research Scholar, Sidho-Kanho-Birsa University, Purulia, West Bengal, India | ||
ABSTRACT | ||
Dialogue is one of the six essential elements of drama, often considered its very soul. It is through dialogue that a playwright’s deepest hopes, desires, and emotions are channeled. A successful playwright employs dialogue with utmost precision, yet the style of usage varies across different eras and authors. In this context, Badal Sircar and his works hold a significant place. Emerging in the second half of the twentieth century, Sircar was not just a playwright, but also a director, actor, and producer. Through constant experimentation, he strove to offer something new to Bengali theatre, introducing the concepts of the Absurd and Third Theatre. His visionary approach added a distinct dimension to the landscape of Bengali drama. Much like Mohit Chattopadhyay, Badal Sircar was initially drawn to poetry. While working as a town planner, he spent his leisure time writing numerous short poems for himself or in letters to his beloved wife. These were later published in a collection titled 'Nanamukh' (Anjali Basu, November 1988). Eventually, he felt that poetry alone could not fully express his inner self. Consequently, he moved toward playwriting, aiming to present himself more comprehensively to society. However, since poetry was his first love, its influence naturally persisted in his plays. In works like 'Evam Indrajit' (1963), 'Sara Rattir' (1963), 'Jodi Ar Ekbar' (1966), and 'Circus' (1969), poetic verses and sensibilities frequently surface in the characters' dialogues. In these four selected plays, characters turn to poetry for various reasons: sometimes to escape the monotony of life, sometimes to survive on false hope amidst loneliness, or perhaps seeking peace from the dissatisfactions of the present and future. In some instances, they bid a final farewell to poetry through the lens of shattered faith and extreme despair. Thus, by creating diverse situations and weaving poetic dialogues into his characters' voices, Badal Sircar showcased his masterful skill in dialogue construction and highlighted his profound poetic identity. | ||
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