Volume II, Issue VI, July 2026
Volume-II, Issue-VI, July, 2026 |
Received: 28.06.2026 | Accepted: 15.07.2026 | ||
Published Online: 31.07.2026 | Page No: | ||
DOI: 10.69655/atmadeep.vol.2.issue.06W. | |||
সেলিম
আলদীনের নাটকে ধর্ম ও দর্শন: দেশজ নন্দনতত্ত্বের দার্শনিক ভিত্তি অন্বেষণ
মো.
দিদারুল ইসলাম, প্রভাষক, বাংলা
ভাষা ও সাহিত্য বিভাগ, ইউনিভার্সিটি অব লিবারেল আর্টস,
ঢাকা, বাংলাদেশ |
Religion and Philosophy in Selim Al Deen's Plays: Exploring the Philosophical Foundation of Indigenous Aesthetics Md. Didarul Islam, Lecturer, Department of Bengali Language and Literature, University of Liberal Arts Bangladesh, Dhaka, Bangladesh | ||
ABSTRACT | ||
Selim Al Deen
(1949–2008) was one of the profound playwrights of post-independent Bangladesh.
Liberating from Eurocentric colonial paradigms, he profoundly redefined
Bangladeshi theatre with his artistic vision of the revival of an Oriental
narrative tradition, culminating in the creation of Kathanatya
(narrative theatre) and Upakhyan Natya
(epic-narrative drama). This research paper analyzes the deep connection of
religion, philosophy, and indigenous aesthetics of his plays. This stylistic
revolution in his plays was structurally grounded in the philosophical
framework of Dwaitadwaitabad (Dualistic Non-dualism), which means
existence of one in all and all exits in one. This is a common ground of
oriental philosophy of Vaishnavism, the Baul tradition, Nishkama Karma
(desireless action), and Sankhya philosophy
including Sufism. This research uses Meticulous Textual and
Literary Analysis methodology to demonstrate how Selim Al Deen’s creative
landscape deeply explores and synthesizes a rich tapestry of these philosophical
systems in his plays like Kirtankhola (1980), Keramotmongal (1986), Chaka (1991), Hargaj (1992), Hathodaye (1997), Prachiya (1998), Nimajjan (2002), Banpangshul
(2003), Swarnaboal (2007) and so
on. In the light of post-colonialism as a theoretical framework, this paper
explores how he incorporated indigenous aesthetics consciously de-linking from
western centric dramaturgy. These plays depict the struggle for existence of indigenous and marginalized
people, fair-centered cultural syncretism, and abstract modern reconstructions
of folk tales. Structurally,
Selim Al Deen established a trace indigenous aesthetic of poetry, music, and drama by restoring the
performance elements of medieval Panchali. In conclusion, the research highlights Selim Al Deen’s
philosophical journey: how he transitioned from a basic critique of societal
flaws into a mature, idealistic philosophy centered on Manabdharma (Humanism) and the whole of human existence.
Ultimately, he goes beyond the traditional role of a playwright to become a
monumental Darshonik-Kothok (Philosophical Narrator). His works
are both universal and deeply rooted in our culture, creating a unique and
independent identity for Bengali drama. | ||
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