Quite a few directors in Bangladesh have experimented with Tagore plays such as Raktokarobi, Muktadhara, Dakghar, Acholayeton, Tasher Desh, Chiro Kumar Shobha and Bishorjan. The number of productions staged in Bangladesh is more than that in Kolkata, India. The experimentation began in 1960s, when Drama Circle, a pioneering theatre troupe of Bangladesh, staged Raja o Rani, Tasher Desh and Raktokarobi. Raja o Rani and Tasher Desh were directed by Bazlul Karim while Raktokarobi was directed by Maqsudul Salehin.

Eminent actor Masud Ali Khan who performed in all three plays, said, "We staged the shows at the Tagore's centennial celebration in 1961. The productions were aesthetically rich. However, there is now a shortfall of quality productions of Tagore plays."

A similar observation on contemporary theatre in Bangladesh is also reflected in the words of eminent cultural personality Mustafa Manowar, whose praiseworthy productions of Tagore's plays like Raktokarobi, Muktodhara, Dakghar, Tasher Desh, Shyama and others are firmly etched in the mind of the audience.

Explaining the reason behind the hurdles of staging Tagore plays, Mostafa Manowar said, "Pronunciation of the artistes, habituated in performing in contemporary theatre is a major hurdle of staging Tagore plays. The master playwright's diction is nothing like that of the playwrights of these days. His diction is in prose form, but with a unique rhythm. When the rhythm is amiss, the dialogues fail to communicate with the audience. As a result the standard of the play falters."

Contemporary theatre director Ataur Rahman, who has directed Raktokarobi, Tasher Desh and Natyatroi (a trilogy including Gandharir Abedon, Biday Abhishap and Karno Kunti Shanglap), also admits that incorporating the unique diction of Tagore is a major hurdle for artistes of this generation. To quote him, "While staging Natyatroi I noticed that actors were having a hard time maintaining proper diction. Many of the younger actors can handle 'movement' quite well, but only a few have control over voice modulation and pronunciation. Sense of music is yet another hurdle."

The form of theatre that Tagore evolved in his symbolic plays, which is a fusion of song-and-dance and European dramaturgy. That is why his plays are low on 'dramatic conflict' -- the essence of western theatre. Instead Tagore plays focus on aesthetic sentiment highly influenced by the indigenous traditions. Tagore opted for a suggestive set. In opposition to the painted backdrop and the proscenium frame, Tagore preferred an intimate performing space.

Though Tagore's plays are performed at the proscenium stage in Bangladesh, Ataur Rahman claims that a good numbers of experimentations have so far been carried out. "After the Liberation War, Tagore's play Muktodhara was staged at Suhrawardi Uddan in 1972. Director, Mostafa Manowar had used six water pumps on the huge stage to create the sequence of the destruction of the embankment in the play. I performed in the play and I still remember the way the audience (no less than two lakhs) cheered."

But, one of the major features of these experiments is the use of dance and music. Acclaimed director Mostafa Manowar said, "Sense of proportion in art is the key factor to present Tagore plays in the dance-drama-music form. If the director expects actors to perform skilfully like the professional dancers, the production will be mediocre. Actors may use only 'stances', but not a complete choreography. The perfect use of voice 'modulation' and proper 'scanning' of dialogues make plays entertaining to the viewers. Moreover, the director needs to have a sound sense in music to present Tagore's lyrics to the contemporary audience, maintaining the authenticity of the tunes. In this case he may present only a few lines, and not every line so that the presentation appears as a drama, not a musical soiree."

Besides Mostafa Manowar believes that Tagore plays are not for the average audience. According to him the frequent staging of quality productions of the plays can develop the 'taste' of the audience.