“Young activists are less interested in literature”

A scene from "Strir Patro".

Ruma Modak, one of very few young playwrights in these times, feels that young people are not interested in opting for her way, that is, in writing plays for the stage. They are rather more interested in writing plays for TV channels. “Maybe money is a factor here. But their lack of dedication to literature hearts me,” she says.
Ruma started writing plays in 1998. Her debut play “Kamolabotir Pala” (based on a local myth) for her troupe Jiban Sanket, Habiganj, was an on-stage success. Then she started seriously to think about becoming a playwright. “After the play's success I started to read Selim Al Deen's writings. Subsequently I wrote 'Bibhajan' for my troupe. The plot caught the eyes of Al Deen. Later he praised my writing over phone, which I consider as a great achievement in my life,” said Ruma, who completed her masters in Bangla literature from the University of Dhaka.
Later she penned several more plays for her troupe, including “Rokeya Charit”, “Shadharon Meye” and “Strir Patro” (the latter two are based on Rabindranath Tagore's writings). “Strir Patro” earned on-stage success throughout this year. As a result, Ruma received a chance to attend a bi-national workshop featuring young theatre activists from Bangladesh and India. The workshop took place in Shantiniketan and was on Rabindranath Tagore. Among ten Bangladeshi participants, Ruma and Shuvasis Sinha were from outside Dhaka.
“The workshop helped me a lot in gaining courage to work on Tagore's literary works. I got a chance to exchange views with activists of our generation from Kolkata as well. As I observed, Indian young activists are not that courageous about experimental works as our young individuals are,” said Ruma.
About local theatre activities in Habiganj, Ruma shared her frustrations. As she said, there are three auditoriums in Habiganj but none of them is well equipped for theatre staging. Moreover, shortage of rehearsal rooms always hampers troupes in running their activities smoothly.
“The biggest crisis to me is that theatre troupes are less concerned about staging plays. Instead, they are enthusiastic about arranging different programmes related to different anniversaries,” she said.
About Bangladesh Group Theatre Federation's initiative and activities she has a mixed impression. She thinks that the platform organisation does enough but sometimes she feels that Dhaka based troupes receive more privileges than those from outside. “Usually BGTF recommends that we stage shows in different parts of the country; it arranges divisional workshops for local activists. But when overseas invitations come it is the Dhaka-based troupes which get priority,” Ruma said.
During her last visit to India, Ruma found that the West Bengal theatre was being patronised by the government. Certain members from different troupes from and outside Kolkata receive monthly remunerations. She feels similar endeavours should immediately start in our country.
“We have great prospects for the theatre. We can take our theatre to the world stage. But to do so we need patronisation, especially from the government,” said Ruma Modak.