প্রসিদ্ধ নাট্যকার সৌমিত্র চট্টোপাধ্যায়ের ‘তৃতীয় অঙ্ক, অতএব’ নাট্য : শিল্পীর জমকালো আত্মসমীক্ষার উজ্জ্বল দলিল / Prasiddha natyakar Saumitra Chattapadhyayer ‘Tritio Onko, Otoyeb’ natya : shilpir jamakalo atmasamiksaya ujjbal dolil

Abstract

Soumitra Chatterjee, the last disciple of Shishir Kumar Bhaduri, is not only a film hero, he is also a powerful playwright and stage actor. His play ‘Tritio Onko, Otoyed’ is an exceptional addition to Bengali drama. This did not happen in the case of Shishir Bhaduri or Shambhu Mitra either. Even in his seventy-six years, he has repeatedly proven that age is not a barrier to creativity. Soumitra Babu has always been immersed in his work, and as time goes by, his brilliance is becoming sharper and more subtle. A documentary has been made about various aspects of Soumitra Babu’s life, focusing on the rehearsals of the play. The actor, who is at the end of his acting career, repeatedly evokes the feeling of death of Soumitra Babu; and in response to this, his infinite, boundless sense of life is felt every time. Through his autobiography, the readership gets a glimpse of the educated middle-class Bengali family and society of that time. This autobiography begins with the life of growing up in the backdrop of Krishnanagar, woven with love and discipline. We also find out how the incident of sending the prisoners of war of the Azad Hind Fauj from Barasat station to the prison camp created a deep wound in the mind of a sensitive teenager. This is like the emergence of the ‘Indian’ sense developed from that family patriotism. Life flows through the affection and care of the father, the deep love of the mother, and the affection. Having overcome many ups and downs of life and maintained his own significance even in the changing times, he has reached the third stage of life by effortlessly climbing the difficult threshold of life. The play reveals Soumitra Chatterjee’s own life. Various fragmented memories of life. It is as if he himself has given up his own life to the operation theater. After his illness, he gradually breaks down, as if he becomes an emotionally driven old man, then it is understood that in this personal life drama, the actor Soumitra and the human Soumitra finally become one somewhere. Soumitra Babu has highlighted his autobiography and long-acting experience, commitment to the stage, and the relationship of the artist with time here. This is a brilliant document of the actor's self-exploration in Bengali drama. Which is still relevant today, despite the boundaries of time.