Ananya Gogoi
(ananyagogoi@gmail.com)
In the nineteenth century, Assamese drama experienced a remarkable metamorphosis, shedding its traditional forms in favour of a burgeoning consciousness steeped in social critique. This evolution laid the groundwork for a revival in the twentieth century, during which Assamese theatre drew inspiration from the broader currents of global theatrical literature. The influence of foreign theatrical works on Assamese drama is poignantly illustrated by the play Ram Navami, composed in 1857, which resonates with echoes of Shakespeare’s impact. In 1915, Lakshminath Bezbarua crafted Chakradhwaj Singha, drawing on characters reminiscent of Shakespeare’s Prince Henry and Falstaff. This tradition of adaptation endures in the works of Benudhar Rajkhowa, whose dramas reveal a clear homage to Othello. Kulada Kumar Bhattacharya was a multifaceted artist who enriched Assamese literary heritage by seamlessly integrating such external influences into the fabric of local dramatic expression. His works emerged as a wellspring of inspiration for subsequent generations of artistes.
Bhattacharya’s fervour for drama illuminated the Assamese theatrical landscape, infusing it with novel ideas. In 1960, he graduated with a diploma in acting and stagecraft from the New Era Academy of Drama and Music in London, later honing his skills in production design at the British Drama League. These formative experiences equipped him with a nuanced understanding of world theatrical literature, which would leave an indelible mark on his subsequent creations. Upon returning to Assam, he embarked on a journey of composition and direction, crafting plays infused with contemporary thought and sensibility. His innovative staging techniques, including the effective use of ramps and symbolic representations of various scenes and events, along with his intricate integration of music and lighting, added new dimensions to theatrical presentation. Bhattacharya’s affiliation with the Indian People’s Theatre Association further expanded the horizons of his theatrical prowess. Through this collective, he took to the stage in significant productions such as Salil Sen’s Natun Yehudi, Digindra Chandra Bandyopadhyay’s Mashal, and Rabindranath Tagore’s Raktakarabi, leaving an indelible impression on audiences and solidifying his legacy. Recognising the necessity for an appropriate platform to elevate Assamese drama, he established the Assam National Theatre in 1960, which became instrumental in nurturing modern dramatic discourse.
A closer examination of Bhattacharya’s contributions reveals the pivotal role of radio drama and mobile theatre in his artistic journey. Collaborating with distinguished playwrights such as Dr. Bhabendra Nath Saikia, Arun Sharma, and Mohendra Borthakur, he ignited a revolution in the realms of radio plays and mobile theatre, producing noteworthy works for the Guwahati Anatar Centre. His repertoire included significant pieces such as Sophocles’ Oedipus Rex, Arun Sharma’s Yayati and Parashuram, Anton Chekhov’s The Seagull, and Shudraka’s Mrichchhakatika (The Little Clay Cart). Bhattacharya’s theatrical acumen extended beyond Assam; he spent nearly a year in New Delhi performing English plays with the Little Theatre Group, collaborating with luminaries such as Habib Tanvir and Sushma Seth.
Bhattacharya’s emotionally resonant performances across various films endeared him to audiences, and his contributions to documentary filmmaking further established his artistic reputation. Central to his work was a deep-seated affinity for ancient Indian theatre, coupled with a commitment to elevating Assamese dramatic art to global standards. His experiences abroad enriched his artistic sensibilities, propelling him to revitalise Assamese drama through the infusion of rich elements—history, humanity, and values—that he encountered abroad. As the twentieth century unfolded, the European theatrical movement captivated the imaginations of art enthusiasts, fostering a profound appreciation for audience sensibilities. Bhattacharya’s endeavours in producing plays for prestigious stages worldwide were instrumental in cultivating a refined professional theatrical style. His progressive perspective on modern drama positioned him as a trailblazer in advancing Assamese theatrical art into a new epoch. The foreign plays he embraced resonated with Assamese audiences, nurturing an appreciation for sophisticated content and form in contemporary Assamese dramatic literature.
The contributions of Kulada Kumar Bhattacharya to the artistic milieu are both memorable and transformative. His journey in theatre serves as a tangible reflection of innovative ideas, which future generations would do well to emulate. Through persistent novelty and outreach, he decisively ushered in a new era in nearly every facet of mobile theatre, infusing his work with unique perspectives and methodologies. Bhattacharya’s legacy, rich in thoughtful ideas and artistic integrity, stands as an indelible part of Assamese literary heritage, ensuring that his impact will reverberate for years to come.