KATHA – KARNABHAR – The Play

As an Interdisciplinary performing artiste, he has been practicing Aangik Abhinaya & Nritya with special interest for over a decade. Besides this, he is working in the field of practice the art of choreography from a theatrical/dramatic point of view and already have worked as a choreographer in several stage productions.

Apart from working professionally in the field of acting, direction, and design, presently he is focused to a deeper journey towards Ancient Indian Dramaturgy. He completed his study in NATYA – SASHTRA under Guru Kalamandalam Piyal, have received Physical Movement & Aerial Acrobatic lessons from Mr. Deb Kumar Paul, a popular mime artiste of Kolkata, joined Institute of Factual Theatre Arts (IFTA) in 2001 for learning about and working in different sectors (like Acting, Direction, Designing, Music, Light, etc.) and with different forms (Like Proscenium, Folk Theatre, Third Form, etc.).

In 2003, attended a workshop arranged by British Council and participated in “The Changing Room” – A Theatrical Exploration by Kinaetma Theatre, U.K, in 2004, participated in the Young Theatre Artists’ state level workshop arranged by Sangeet Natak Akademi (SNA), New Delhi. He has successfully completed the Second Phase of the Young Theatre Artists Workshop (East Zone, 2005-06) also completed the Choreography Workshop in 2009 at Kolkata organized byPadatik, supported by Sangeet Natak Akademi (SNA), New Delhi. He Have written, directed and designed many productions like Bholaramer Pala, Ashwatthama, Vasana-the design of desire Katha-Karnabhar, MANAN- as we meditate, KRISHNA- the man alone, Swarna-Sanghaar, a Hindi play based on Jataka Tale of Buddhist Cult, Tanu-Tantra, based on Samkhya Philosophy Gond Ramayani a dance-drama on the occasion Currently writing, designing and directing on play Ha Raam produced by Pragya Cultural Centre. Also he Performed in many Dance Theatre piece titled “Pain” with Smt. Chetna Jalan at Padatik, in IFTA’s full act – Chitrangada- A Mythological journey of Metamorphosis, E-MO-KO (a contemporary dance-theatre), MANAN-as we meditate, Urubhangam directed by Sh. Manish Mitra, Hamlet, Sitayan, Medea (Root text:Euripides), VASANA (dance-theatre production), also Participated in Young Directors’ Festival with his play production Ashwatthama- the war machine in February, 2008, organized by Sangeet Natak Akademi, New Delhi, 19th Bharat Rang Mahotsav (National Theatre Festival)organized by National School of Drama, New Delhi In 2016, Nine Miles to Go based on biography of Bagha Jatin in 2017, 8th Theatre Olympics with play production Katha-Karnabhar in 2018,“The Changing Room” – A Theatrical Exploration by Kinaetma Theatre, U.K. He awarded the “Best Actor’s Prize” in Inter College One Act Drama Competition organized by Shudrak, an eminent theatre group In 2001, the “Best Actor Award” in 10th National Youth Festival (2005),Hyderabad, National Scholarship in 2005 in the field of Theatre from Ministry of Culture, Govt. of India. He Worked as Production Designer in IFTA’s full act – Chitrangada- A Mythological journey of Metamorphosis, Assisted Sri Shyamanand Jalan in his Hindi play Madhavi in 2006,Worked as Associate Designer and Stage Manager in Padatik’s dance project Celebration’06,Assisted Shri Shyamanand Jalan in his play production Lahron Ke Rajhans in 2008, Worked with Padatik Cultural Centre, Kolkata, as Directorial Assistant to Shri Shyamanand Jalanand In-charge of Space & Property for 4 years, Worked as Project Assistant in the Training Programme of Musical Instrument Making at Kolkata, run by Sangeet Natak Akademi, New Delhi, Worked as Body–language Consultant and Choreographer in the play Sitayan produced by Purba Ranga, Kolkata in 2015, Worked as Body-Language Consultant and Choreographer in the play Spartacus produced by Purba Ranga, Kolkata in 2015, Worked in the creative/technical chapter in numerous festivals and events for Sangeet Natak Akademi, New Delhi, Acted in TV productions and Films, Worked as Visiting Teacher at MPSD (Madhya Pradesh School of Drama) in 2019, Worked as Artistic Director and Principal Physical Trainer at Bengal Repertory from 2014-19 etc.

Our organization Bengal Repertory is working in the field of theatre since 2008. We staged many Theatrical productions. Artist of our group are regularly involved in theatre practice and Research and intense training process. We are also practicing Indian Dramaturgy and searching Indian method of acting with highlights towards the special characteristics of Eastern region of India(named after Oudhra Magadhi Vritti in Bharata’s Natya Shastra).

The repertory has a very special focus on angik abhinaya. We have formulated a very intense and detailed regime on body preparation & physicality acting (anga shuddhi & angik abhinaya), which has been under regular practice by the members and the artist of the group. From the very beginning of our journey the practice of Hathyogais an indispensable part. We also encourage the practice & training of recitation for our students& artists. The repertory has always been keeping focus to built an awareness of Indian philosophy and spirituality amongst it’s members & audience.

The repertory has three distinct streams to practice & culture with, i.e., Dance, Theatre and Dance-theatre. It is working with the primary objectives stated below

• To cultivate the practice and make productions in Indian theatre, dance, recitation and dance theatre as our regular activities.
• To study & research in different sectors of performing arts.
• To run training programme in Dance, Theatre, Recitation & Body Preparation Process of the performers.
• To arrange workshops, seminars on different themes related to performing art.• We have a dream-plan to run a performing art institution for the underprivileged and promising students who want to sign in the field of performing art.

Bengal Repertory is running its Kathak based dance training and recitation training programme named after Chayan for last Five years. And from the very beginning our students have been performing outstandingly in different cultural programme as well as competitions. Shri Suman Saha is the artistic director of our theatre section. Ms. Ritusri Chaudhuri, the director of our dance wing is a well appreciated dance practitioner all over the country and abroad.

Katha-Karnabhar depicts the painful conflict of Karna’s life. After the rituals and invocation the play begins with Karna, his chariot-wheel stuck into the ground at the end of his life. Then we turn with flashback and see Kunti with an urge to bring back her eldest son and gets refusal from the dutiful tragic hero.

Afterwards Karna and Shalya come with a preparation of battle but Karna feels broken and deprived. He remembers the curse of his guru Parashurama, the real story of his birth and all the deprivation he has earned in his life. However, Karna comes out of his sorrows and inspires himself with the help of his companion Shalya to go to the battlefield but in the meantime Devraj Indra comes in dressed like a Brahmin and begs for great alms. Karna offers many a precious things but Indra refuses. At last he offers his ‘Kavacha-Kundala’ which were by born with him to protect his life; now Indra gladly appreciate cause he intended to get the same according to Krishna’s plan to assure Arjuna’s victory over Karna.

Now an Devduta comes and offers an unfailing spear named ‘Vimala’ to Karna saying that Indrais sorry for taking away the armour (Kavacha) and earrings (Kundala) and he has sent this unfailing weapon to kill one of the Pandavas. Karna refuses to take anything return for his gifts to the Brahmin, but when told that it may be taken at a Brahmin’s biddings, Karna accepts it saying that he has never rejected a Brahmin’s bidding. When the Devduta is disappeared, Karna hears the sound of Arjuna’s conch and commands Shalya to rush his chariot to the spot where Arjuna is standing. Here after a choreography depicting the war, the deadly celebration of life, the first scene continues. We find Karna fatally wounded, counting his last few breaths, addresses Arjuna to take an arrow from him, and send it to his mother Radha, who must be waiting for him. The plot of the play ends here with the soliloquy by Karna. We end with a note of salutation to the Omnipresent, the Almighty, the Ultimate, the Rasa. The ever exploited, wretched Karna now goes towards his ultimate destiny.