Bengali Drama in the Context of Existential Crisis: A Discussion (অস্তিত্ব সংকটের প্রেক্ষিতে বাংলা নাটক : একটি পর্যালোচনা)

Abstract

What should I call existence? Merely living in some sense cannot be called existence. Who am I? What am I doing? Why are you doing? We have to find the answers to all these questions, only then we can face our own existence. ‘This is me’ – I have Discover myself; otherwise, they will suffer from the crisis of their existence.

            According to existentialists, if a man behaves like everyone else instead of being what he really wants to be, he is actually alienating himself from himself. Everyone agrees that the ordinary life of man is not the real or proper existence of man. Existentialists did not want to call existence as living in the traditional currents as everyone else does without being aware of their freedom, dignity and individuality. But in this stream, does everyone want to float? Or under the pressure of society and surroundings, he is gradually forced to float in that stream. He is losing his existence.

            This issue of existential crisis has also particularly affected literature. This existential crisis has come up in the writings of many writers from the West to the East. The subject of my discussion is how this crisis of existence has emerged in the subject of my discussion is how this existential crisis is reflected in Badal Sarkar’s ‘Ebong Indrajit’, Shambhu Mitra’s ‘Chand Baniker Pala’ and Mohit Chattopadhyay’s ‘Kanthanalite Surya’.