The Resonance of Surrealism in Mohit Chatterjee’s Theatrical Language/ মোহিত চট্টোপাধ্যায়ের নাট্যভাষায় পরাবাস্তববাদের অনুরণন

Abstract

Surrealism emerged as a rebellious art movement in the early 20th century in response to the protests, disappointments, and spiritual crises that spread in European art and literature after the First World War. Surrealism highlighted the overall danger of the external and internal worlds in a kind of surrealistic expression. It emerged with the revolutionary consciousness of radical changes in art, society and politics. Surrealism became a wonderful expression of the subconscious mind, dreams, and imagination through a kind of 'Psychic Automatism'. On the other hand, Mohit Chatterjee emerged in Bengali literature with a completely exceptional poetic dramatic language. He brought an existential, surrealistic, deep political consciousness to the Bengali stage. This article attempts to establish the internal relationship and connection between Mohit Chatterjee's exceptional dramatic language and surrealism.  This article uses various examples to show that the relationship between Mohit Chatterjee's plays and surrealism is not just a visual or superficial resemblance, but rather a fundamental and existential connection between Mohit Chatterjee's dramatic world and the deeper concept of surrealism. Like surrealism, Mohit Chatterjee's plays become a creative protest against the cruel reality of the external world and the inner turmoil.