A multi-faceted artist, Avijit Dutt is a playwright, director, designer and actor who acts both in theatre and films with equal felicity. A member of Yatrik Theatre, one of Delhi's most respected group which has completed 50 years of glorious creative journey. A sensitive actor, Avijit acts on English, Hindi and Bengali stage, delivering his lines with immaculate clarity. He has earned a place for himself to play tragic as well as comic roles.
He took one of his recent productions, “Comedy About the End of the World” by Evald Flisar, a Slovene writer, to some of European countries under the auspices of the Indian Council for Cultural Relations. Now Avijit appears on stage in a new avatar as a solo performer at Oddbird Theatre & Foundation, Chhattarpur recently. Structurally, the production defies conventional characteristics of drama. Titled “The Unspeakable”, the play is a bitter evocation of a decaying society in which creative freedom and right to dissent are under threat. In fact, it is a bold critique of the existing socio-political system. Avijit’s earlier play “Bombay Bosnia” is known for its severe indictment of forces that undermine India’s concept of secular democracy.
“The Unspeakable” opens with the musing of the protagonist who is the son of John Butler. Avijit as protagonist narrates to the audience about the land of the birth of his character. It has the glory to be born in the land of rising sun. Adopting the format of stream of consciousness, he is basking in the glow of the sun, though lives in the economically neglected region with his thought flowing to different directions. He visualises about the affluent family in Chandigarh, Patel family in Ahmedabad priding itself about the success of its son-in-law who is building motels in the U.S. and the Biswas of Kolkata happy about the building their ancestors have built. While the rich in big towns are planning to multiply their wealth, the people of North-East are struggling to eke out a living. The regional disparity is projected.
In his fantasy world, the protagonist talks about the undivided Bengal — the romance of travelling in boats and the thrill of watching river Padma and Brahmaputra and the dancing fish in the river water in ecstasy. Returning to reality, the protagonist reveals about his hereditary attributes for the art of cooking chicken and famously known as Mog cooks. Moving forward, he tells us about his father John Butler working for Saab who lived in Bada Kothi. The social milieu is tea gardens of Assam.
Recalling his childhood friend Sajid, who made it big in Bollywood, he narrates the story of Sajid’s father who was the driver of Saab. Sajid’s father considered himself superior to John Butler but John Butler was not ready to accept. John Butler has perfected the art of cooking Hilsa fish. Being an excellent cook, Saab retained his services despite his indulgence in drinking and at times his unruly behaviour. Saab lived in Bara Kothi with Mem Saab.
Then he transports us to another time when British colonialists ruled India and subjected people to exploitation, forcing them to live in misery.
Dark picture
Portraying the dark and inhuman picture of Bengal famine, he tells us Churchill’s shocking and inhuman comment, “I hate Indians. They are a beastly people with a beastly religion. The famine was their own fault for breeding like rabbits.”
Initially Muslims, his family adopted Buddhism. This son of John Butler becomes a cook after moving to Delhi. Landed in a hostile world, his interviewer tells him, “Silence is necessary qualification that can determine the 'longitude' of your employment.” In Delhi, he has little opportunity to show his skills as a cook.
His employers are vegetarians and some are forced to become one. Towards the end, the production acquires a bitter tone, indicting the prevailing atmosphere in which freedom of free speech and creative expression is in dire jeopardy.
In Delhi, he lives in a state of terror and calls it “Rape Capital” and watches the movements of Gau Rakshak and anti-Romeo squad. In these circumstances, he remembers the advice of his interviewer who advised “to remain silent”.
At Oddbird Theatre & Foundation there is no stage. It is a huge hall. The spectators occupy chairs. In this make-shift arrangement for the lighting and off stage music, the handling is effective to create the right ambience. Avijit has remarkable stage presence. He is tall and is endowed with a voice that has clarity and tonal range.
Through his restrained gestures, facial expressions, he brings to the fore the inner alienated life of his character living in a hostile world. His style is realistic. Using just two small tables, he projects images that arrest the attention of the audience, bringing the contours of the life’s journey of the protagonist vividly alive.
