O Chand
(Oh! Moon)
The play, O Chand
(Oh! Moon) has been developed with a tale of another middle class family in the
context of political terror. The only earning source of the family, Atri, a
teacher by profession, a nature lover, got victimized in the altercation between
the State and the political extremists. He was an affectionate son of a
visually impaired woman, a caring husband, a father of an adorable daughter.
His romance for the nature, thirst for drinking to the drag the beauty of flora
and fauna had been driven him from hills to the coastal fronts of the country.
The aroma of happy ambience of the family, which includes music of nature, the
tune and voice of his beloved mother, the flavor of the religious sacraments
at the full-moon night, had haunted him since his very childhood. He felt the
irresistible affinity towards the beauty of nocturnal blue of full-moon night —
the affinity which ultimately pulled him to the battlefield in the Left Wing
Extremism affected area. Based on a misperception he got abducted by the so
called revolutionist guerrillas. A rebel by nature against the social and
economic injustice he stood erect against the ideology of the political
extremists, who declared war against the State power. His fatal end brutally
affected his family. The play, based on a real life incident, raised the
concern of adverse impact of such civil war at the micro level of the society.
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| RAI in "O Chand" |
Director’s
Note
The strategy of using
‘Terror’ as the fundamental weapon for regulating the opinions of civil society
has effectively been adopted by the political activists. After the naxalite
movement of the seventy’s decade of last century, political terror in West
Bengal has prominently been surfaced with the emergence of Left Wing Extremism
in the southern part of the State. It is quite evident in parliamentary
democracy thatthe political parties, irrespective of their colours, have
frequently been utilised ‘terror mechanism’ to achieve their objectives. The
goal of political violence is for one group to gain political power over
another. The sympathizers
in support of the political revolutionists try to justify the so-called
socio-political terror as the struggle of marginalized people for their utter survival—
they chose violence after long deliberation, because they felt they had no
choice. But what about the political terrors created by the so-called
non-marginalized groups?
However, the common
people,the society as a whole, especially the poor and middle class families are
most the vulnerable and are at stake due to the effects of such Political
violence.They are the ultimate sufferers. According to a source of information,
a total of 6510 persons died due to Left wing extremism in India during 2005 to
2014, of which 2688 are civilians. Death is the most obvious and permanent form
of separation. Separation from the other family members, separation from the
other associates, — separation that can ruin the entire family infrastructure. In the context of long prevailing
political unrest situation in West
Bengal we are witnessing plenty of cases of similar separations regularly from
their families, friends and other associates just because of political
violence. In this context, the play ‘O Chand’ has a tremendous social relevance
today.
CREDIT :
Production : NANDIPAT
Play : Debotosh Das
Scenic Design : Sandip Suman Bhattacharya
Lighting Scheme : Badal Das
Music Editing : Swapan Bandyopadhyay
Make-up : Tapan Chakraborty
Costume : Pintu Das
Sound Operation : Himangshu Pal
Light Operation : Deepak Dev
Kirtan Recital : Srija Chakraborty
Voice : Anjan Roy CHowdhury
Music Scheme &
Directed by : Saumitra Poddar
A SCENE FROM "O CHAND"
A SCENE FROM "O CHAND"
CAST :
Atri : Saumitra Poddar
Aditi : Monalisa Chatterjee
Rai : Kinkini Maity
Mother : Sarbani Bhattacharya
Abbas : Biplab Naha Biswas
Sunanda : Sanjay Das
Rahul : Bikashkali Ghosh
Chandi Da : Sandip Suman Bhattacharya
Tiger : Shyamal Chakraborty
Kartik : Anjan Roy Chowdhury
Commander : Partha Pratim Das
Rebel : Triguna Shankar Manna
Guerrillas : Saikat Bhattacharya,
Bikashkali Ghosh, Moumita
Ghosh, Asish Saha,
Manojit
Dey, Sukhendu Prasad Bangal