About the Book This book is a looking glass of the Bengali folk dramas which have an enriched, glorious tradition and history.
The entire folk society could be discovered and comprehended from these dramas which had their origin in myths, rituals, beliefs, customs and usages of the rural community. They are factually an historical and socio-cultural documents of Bengal stretching over a few hundred years or more. The author has endeavoured to pull the curtain of these wonderful dramas for presentation to the curious readers.
About the Author Born and educated at Kollata. Parental home at Vikrampur, Dacca, now Bangladesh Father Late Nihar Chandra Chakravarti, an eminent scholar administrator and Statistician (an associate of Prof. P. C. Mahalanobis since inception on the ISI Retired as District Information and Cultural Officer, Government of West Bengal Gerved over 30 years in the districts. Now attached to the Folk and Tribal Cultural Centre, Deptt. of Information & Cultural Affairs. Life Member, Indian Folklore Congress Associa lon Contributed articles to ugantar Patrika, Amrita Samhati, Ajjkal, Bangalok, Lokoshruti and in little magazines as well as in an English Weekly "West Bengal" of the State Government published works are: (D) Tatya O Parichaya Dakshin 24 Parganal (Edited an informative book on the district published by the Zilla Parishad) Lagiachander Mela: Fakiri Gaan (by Academy of Folklore).
(i) Nachnt (in English Soptatshi), (iv) Nchini (in Bengal by Sagnik) Tarjagaaby (by Fobal Cultural Centre) (vi) Tuppet Dance in India: Origin and Evolution (by R. N. Bhattacharya, Publishers, Booksellers) (vily Putulpach (by Folk & Tribal Cultural Centre). Recited self-composed poems from the All India Radio, Kolkata. Took systematic lesson in Rabindrasangeet from the eminent artist Shrl Dwijen Mukhopadhay.
Received an Award as Subject-Expert for an educational film telecast in the Doordarsan on the "Dancing Dolls" (puppels) for best programme in Hunianities, Literature and Communication from the University Grants Commission for the year 2003.
Foreword A noted scholar of the performing fuorigenre of West Bengal Shri Nisth Chakravarti does not require any formal introduction perhaps. His well-known books on the Nachi artistes of Parulla district have already earned quite a fame and praise from all quarters. A he is very closely associated with the folk lare movement of this may confidently be told that he is the right man to open a precise monograph on Bengali folk drama. Meant to serve the purpose of the scholars and the commoners at the same time. His personal exprience, gathered through extensive field-studies and close association with the folk artistes for the last twenty five years or so, has ven an indelible mark of authenticity. Shri Chakravarti had dealt with almost all the forms of folk-dramas that could be found within the geo-cultural ambit of this state, and that two needless to say with expected range of authority.
Many of the form discussed in this small, but well written monograph are in quite bad shape due to financial paucity and lack of Interest in them by the upcoming generation. This indaquesis often tend to create disinterest about them and gradually some of the forms face the threat of extinction. Such a problem could be solved only if competent scholars actively take initiative, so that these once-popular drama forms may again be resorted to their deserving position. A book like this would serve such a purpose to a great extent.
Introduction The Dictionary of World Literature illustrates the origin and development of folk drama in the following language: Folk Drama began in primative pagan riles and magle ceremonies of song and dance The ultimate cause of all dramatic aciton we ciassily as folk whether be physical or spiritual. hes in men's desperate strugde or existence and his enjoyment of the world of nature (Dictionary of World Literature Edited by Shipley Bengal has a rich heritage of folk dramas. It has a long and glorious history which emerged from the people of folk society. Old tales, fables, popular beliefs, customs and usages have contributed to the development of folk dramas/palas over a few hundred years. Even the stories of the ancient epics of the Ramayana Mahabharata and Puranas assume a place in the formation of these dramas evolved and generated out of the rural folk community, Folk dramas do not conform with the injunctions or rules of the theory of drama as we have seen in other forms of drama all over the world Factually speaking folk plays/ palas are absolutely reverse to Greek English German. Sanskrit and even Bengali dramas/theatre in plot. structure and other dramatic devices.
The creation of the dramas were spontaneous and born out of the heart from an illiterate society composed of underfade and poverty ridder. people who found enjoyment and delight in their own creations. But what is laudable and worth mentioning that our folk dramas have been in course of time a very strong medium for promotion of mass education and communications.
**Contents and Sample Pages**
