Here Is The Review Of Padatik Theatre’s New Play Kaagaz Ke Gubbare: The range of Hindi dramas in Calcutta drama is decreasing. With Jhunjhunwala gone, Usha Gangopadhyay’s team is still practicing as hard as it can. The only exception is ‘infantry’. The journey started by Shyamananda Jalan has not stopped in Hindi theater in Calcutta. And that’s possible because ‘Padatik’ has its own platform. Shyamanandji’s successors continue to perform drama there almost regularly. A beautiful presentation of his ‘Kaagaz Ke Gubbare’ (Kaagaz Ke Gubbare).


Drama is not only entertainment but also has a social responsibility, Shyamanandji’s successors have not shied away from that responsibility. Ismat Chugtai and Saadat Hasan Manto’s duet ‘Kaagaz Ke Gubbare’ proved that ‘Padatik’ is still playing a useful role in the theater industry. A lot of cheeky things are said about the role of women in society, but does anyone really accept it? No, no one! Anubha Fatepuria, who came to direct from a sensitive actor, explained in her work that they did not come to do dramas just to spread entertainment in Sandhya Majlish.

Anubha wants to present a timely speech. Yes, there is definitely entertaining, but within it there is also an assessment of the proper status of women in society, family, and individual life. Anubha wrote a synopsis of the play inspired by the writings of Ismat Chugtai. As a result, he himself plays the role of a writer on one side of the stage. The remaining five are reading the play with the script book in hand. Having become characters on the stage, their acting and drama progressed simultaneously. The two streams have blended quite smoothly.

Thanks, Anubha for the work. Sakuya is a play with six characters. Each character is representative. Ismat is sitting on one side of the stage and writing the stories of some housewives, some Dajjal Kumari, and some veiled housewives. Sometimes he talks about himself. An elderly man (is that Manto’s shadow?) is interacting with all the characters. He has become young once again in his old age.

Some of Manto’s brilliant dialogues are also repeated. For example, “Fathers are always virgins, daughters are never virgins” or “Har aorta betchya Nahi Hoti, par har best aorta hoti hai.” Again Ismat himself said, “Maya damage bechti hun, whore jism bechti hai!” Anubha has arranged the words beautifully in the drama in the face of various events and characters. ‘Kagaj Ke Gubbare’ is composed of six small incidents and characters and the act of connecting them to each other is smooth and seamless.

Aniva also explained the reason for using white sarees and red blouses for the six female characters in the drama. So the paper is white, the color of the saree is white. When a fire is lit on the floor, paper lanterns fly in the sky, and because of that fire, the color of the blouse is red. Every female character is dressed the same. But writer Ismat’s dress could have been different. Anubha did not do that, she also combined herself with five ordinary women and did not separate them. His thoughts are commendable.


Two notable aspects of this production – one, the transformation of the stage from the intimate style of Patak to a narrow long room with walls. Two, six actors acting in the same tone, in the same manner, in the overall balance. Of course, Kalpana Jha is sometimes a little too high. But Karuna Tagore and Titas Dutta are sometimes powerful, sometimes calm and shy, depending on the character. However, Ashok Singh, a senior member of the party, explained how comfortable and natural he is in reading plays. Palash Chaturvedi did a very funny job imitating the old man’s voice.

Anuva’s characterization as Ismat is calm, slow, steady and gentle. Like a tasteful woman. He is the director of this play. But with such experienced artists at his disposal, the task must have been made a little easier. It’s not that there aren’t moments of lighthearted laughter in such a sensitive and conscious theatrical production. Titus’ emphatic presence, the use of Hindi filmi song duo Kali creates a beautiful atmosphere for a few moments. No, that does not affect the seriousness of the play. And this is where Kagaj Ke Gubbare becomes an exceptional production. Kudos to the ‘infantry’, for not deviating from Shyamanandji’s ideals.

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