THE FORMATION OF BENGALI THEATRE PRODUCTION ON UTPAL DUTTA’S BENGALI DRAMA ‘TINER TALWAR’/'টিনের তলোয়ার'(‘THE SWORD MADE OF TIN’)

Abstract [English]

The relationship between the director and the actor and actress in the theater, the relationship between the production and the performance of the play, the relationship between the audience outside the theater, the relationship between the theater and contemporary reality and specific politics - Utpal Dutta has advanced in the analysis of the existence of theater in the play 'Tiner Talwar' by taking these four relationships into account. Innovation had to be brought to the stage concept because the play 'Tiner Talwar' is a play within a play. There are seven scenes in this play. The first and sixth scenes are on the streets of Kolkata and the remaining five scenes are the rehearsals and stage performances of the play. We, the viewers or readers or listeners of 'Tiner Talwar', are fortunate enough to see three plays in the play. Just as we can learn how a theater group of the 19th century presented the play on stage, we can also learn what the audience was like at the time of writing. Again, this play was composed in the seventies of the 20th century. The social life of Bengal at that time was turbulent in the waves of the Naxalbari movement. Like in the 19th century, the native rulers of 1971 also wanted to suppress the rebellious nature of drama. Play writer Utpal Dutta paved the way for the creation of Bengali theatre in his play 'Tiner Talwar', written on the centenary of 'Sadharan Rangalayo'.