"It's high time we introduced professionalism"

Right: Shahadat as the protagonist in “The Communicator”.Photo: Mumit M.

Shahadat Hossain is a fortunate theatre practitioner who has had the opportunity to work in a professional atmosphere. As a member of Centre for Asian Theatre (CAT), the only professional theatre troupe of the country, Shahadat has had the chance to dedicate himself to theatre. He joined CAT in 1997 with the ambition of getting recognition as an able actor. After over a decade in theatre, the actor believes that he is reaping the fruits of his labour, as he is one of the lead actors of the troupe today.
Shahadat's shining performance is apparent in CAT's successful productions “Bhelua Shundari”, “Peer Gynt”, “Raja”, “The Lady from the Sea” and “The Communicator”.
Shahadat is unequivocal that professionalism is essential for the survival of Bangladeshi theatre. “Professionalism doesn't only entail paying monthly salaries to artistes, directors and technicians but also a change of attitude in work ambiance. We need to cultivate a professional attitude. If the film and television industry as well as ad agencies can initiate it why can't we, theatre activists, do so?” -- he questioned.
There is a belief that creativity is the casualty if more energy goes in to developing organisational skills. As a member of a professional troupe, Shahadat gets little time to focus on organisational activities. Rather he is more focused on developing his personal skills. Nevertheless, he is up to date on the subject. As he said, “There are some troupes that are organisationally very strong, but to be honest, their productions are not remarkable. I think there are troupes, which are dependent on a particular individual in the team. In such a situation, if that person thrives, the troupe thrives; if s/he collapses then the troupe will see its end as well. This trend must be changed.”
“The possibility of producing more diverse works increases when more creative people work together,” he added.
As a member of CAT, Shahadat has visited several countries and participated in many festivals. During those visits, he observed that the lack of infrastructure does not come in the way of arranging major festivals. “In Japan, I attended a festival several years ago that was held in an auditorium no bigger that our Studio Theatre Hall [at Shilpakala Academy in Dhaka]. Yet the festival was one of the most colourful and well-recognised of its kind,” said Shahadat.
With a decade of experience behind him, the actor observes that upcoming theatre activists are not as dedicated as they should be. “Their [young theatre activists'] focus seems scattered, and they are involved with multiple sectors. Perhaps this is one reason that results in the absence of dedication to a particular sector,” explained Shahadat.
While theatre activists frequently blame the upsurge of satellite channels as a negative impact on public interest in live performances, Shahadat takes a different stand. In his opinion, it is important that they utilise this other media -- as a platform for generating interest in theatre. He also refers to the role of the audience. “If you observe closely, you will realise that most of the theatre audiences belong to a certain class. We have to deal with the question of whether we can promote theatre among all classes of people,” he said.
Shahadat ended the conversation by expressing his heartfelt gratitude to his mentors and all pioneering personalities because of whom theatre has a good standing today.