Centuries change, and with them, civilizations evolve. Art and literature flow in new forms and techniques. The source of these stories from today, tomorrow, and beyond is illuminated by history. Our civilization and culture owe a debt to this history. Just as Rabindranath is an indispensable pillar in the history of Bengali literature, so too is Shambhu Mitra in the history of Bengali theatre and stagecraft. In this discussion, we will explore Shambhu Mitra’s immense contributions to Bengali literature, drama, and the stage.
Shambhu Mitra was born on August 22, 1915, in South Kolkata. His father was Sharatkumar Mitra. Shambhu Mitra nurtured a desire to act from a very young age. In his teenage years, while in the eighth grade, he organized a performance of Dwijendralal’s Rana Pratapaditya with his classmates, driven by this very desire. However, the play never made it to the stage due to opposition from the headmaster. After enrolling at St. Xavier's College, his interest in theatre deepened. He left college to immerse himself in reading both Indian and foreign plays while continuing to watch performances. His undying passion for theatre and the stage eventually brought him to the professional stage.
In 1939, at the age of 26, Shambhu Mitra entered Rangmahal Theatre under the guidance of Bhumen Roy. Thus began the life of Shambhu Mitra, the actor. After performing in plays like Matir Ghar, Mala Ray, Ghurni, and Ratnadeep at Rangmahal, Mitra joined Minerva Theatre, where the great Maharshi Manoranjan Bhattacharya was performing at the time. After leaving Minerva, Shambhu Mitra joined Natyanketan, which later became Srirangam. It was at Srirangam that Mitra came under the influence of Natyacharya Shishir Bhaduri, whose teachings deeply shaped Shambhu Mitra's theatre sensibilities and understanding.
In 1943, Shambhu Mitra joined the Indian People's Theatre Association (IPTA), marking the beginning of a new chapter in his life as a theatre director. That same year, he directed Zabanbandi and Laboratory, and, in collaboration with Bijon Bhattacharya, co-directed Nabanna, a play regarded as a milestone in the history of Bengali theatre. The play’s innovative set design, stagecraft, and language made it a landmark production. After this groundbreaking production, Shambhu Mitra's future as a director was set. His performance was so captivating that Ananda Bazar Patrika wrote, "Shambhu Mitra's acting is unmatched in its naturalness." However, despite joining IPTA with the hope of fulfilling his artistic aspirations, Mitra felt creatively unsatisfied and left the organization.
On May 1, 1950, Shambhu Mitra founded Bahurupi, with the aim of producing "good theatre." Bahurupi stated in its manifesto, "We wish to perform plays that reflect social responsibility and strive towards a higher moral life." With this commitment, they staged Ulukhagra (August 12, 1950), which was praised for its innovative production design. Ananda Bazar Patrika wrote, "In this entirely new form of staging, none of the scenes had a complete set—only suggestions of windows, doors, and other necessary items. The innovation in stagecraft was immediately apparent."
Following Ulukhagra, Mitra's direction of Cherataar proved that "acting can be at its best even without the aid of visual effects." Kamalkumar Majumdar also highlighted the innovation in stagecraft. Mitra’s next production, Bibhav, was described by him as a "theatre of scarcity," born out of extreme financial hardship. The company had no stage, no scenery, no lighting or décor, but only a passion for theatre.
Shambhu Mitra soon turned to Rabindranath Tagore. Although he initially found Rabindranath’s work irrelevant to contemporary life, he eventually discovered a new, integrated understanding of Tagore. His adaptation of the novel Char Adhyay (1951) resonated with the contemporary crises of the time. Audiences were spellbound from the overture to the final scene of the play. Mitra's production of Raktakarabi in 1954 became legendary. Although Raktakarabi had been staged before, Mitra’s version brought the play "from symbol to flesh and blood," as poet Shankha Ghosh put it. He followed this with Bisarjan (1961), where he sought to show "a path to survival." Although Muktadhara was not a stage success, his nuanced direction in Raja (1964) was widely praised. Janasevak commented, "Shambhu Mitra’s direction is commendable... The portrayal of the Queen’s dark chamber, the King from the background, the festival on the streets, and the Queen’s death will remain unforgettable for the audience."
Mitra called Raja a "play of darkness," a title he also applied to Oedipus Rex. In this production, he attempted to take Bengali acting and stagecraft to the pinnacle of excellence. Gopal Halder praised Mitra's boldness in his adaptation of the Greek tragedy. Two other notable foreign plays he directed were Dashchakra (1952), based on Ibsen’s An Enemy of the People, and Putul Khela (1958), an adaptation of Ibsen’s A Doll’s House. His direction of Dashchakra was lauded as one of the greatest achievements in Indian theatre at the time.
Shambhu Mitra also directed absurdist plays like Baki Itihash (1967) and Pagla Ghoda (1971), which broke with tradition and were deeply reflective of his social consciousness. In terms of stagecraft and the use of light and shadow, Baki Itihash set a new standard.
In addition to being a director and actor, Shambhu Mitra was also the editor of Bahurupi magazine (from 1971), a playwright, essayist, short-story writer, and theatre theorist. He wrote five full-length plays, including Ulukhagra, set against the backdrop of war, famine, and conflict, Bibhav, inspired by Japanese Kabuki theatre, Kanchanranga, written in the style of Sanskrit plays, Ghurni, which reflects leftist social consciousness, and Chand Baniker Pala, considered one of the finest plays in Bengali literature. In this latter work, the linear narrative of Manasamangal is transformed into a multi-layered exploration of the dark period of 1970s India and its revolutionary journey toward the light.
Mitra also wrote three one-act plays: Ekti Drishya, Garbhabati Bartaman, and Atulaniya Sambad. He wrote five short stories dealing with the confusion and challenges of theatre and cinema, including Osamayik, Aranya, Sankraman, Tintala, and Kalidah.
Shambhu Mitra wrote several essays on theatre and theatre theory, which have become invaluable resources in Bengali theatre literature. These essays are collected in the books Abhinay Natak Mancha (1957), Prasanga: Natya (1971), Sanmarg-Saparya (1396 B.S.), Kake Bole Natyakala (1991), and Natak Raktakarabi (1992).
In an interview, Shambhu Mitra said, "I never had any desire to become a director. My... aspiration was to act." However, he became one of the foremost directors of Bengali theatre. The efforts initiated by Shishir Bhaduri were carried forward and completed by Mitra in his directorial endeavors. He believed that a director’s job is to "bring out the best in an actor from within... it is not the job of a director to impose superiority." He fulfilled that responsibility throughout his life. His creativity and thought processes set numerous precedents, which remain timeless and guide the future of Bengali theatre.
Shambhu Mitra did not view theatre as separate from life. He believed that theatre should speak in the language of the present. That’s why he insisted that plays be brought "within the framework of the realities and imagination present in today’s everyday conversations." Whether it was Ulukhagra, Raktakarabi, or Oedipus Rex, Mitra’s productions always spoke in contemporary language. While touching upon Rabindranath and Shishir Kumar, Mitra established his own unique identity. His innovations in stage design repeatedly amazed audiences, and he demonstrated that theatre can be created without lights, sets, or money by bringing the simplicity of jatra to the stage.
Even today, when we listen to audio recordings of Mitra’s Raktakarabi or Oedipus Rex, we can appreciate the uniqueness of his acting. His renowned "pronunciation and voice modulation techniques... alongside the mastery that turns acting into art" were unparalleled in his performances. Beyond directing and acting, Mitra envisioned a modern, relevant stage, but his efforts were thwarted by government apathy. His vision for folk theatre and foreign play translations remains unfulfilled. Shambhu Mitra passed away on May 18, 1997, leaving behind a rich legacy of wisdom and inspiration.
References
Sudhi Pradhan, Nabanatya Andolon Prasanga
Nabanna, Ananda Bazar Patrika, 27 October 1944
Ashok Majumdar, Pathik Theke Raktakarabi, Bahurupi Magazine, Issue 69, 1 May 1988, Editor: Kumar Roy
Swapan Majumdar, Bahurupi 1948-1988 (1988), p. 19
Ananda Bazar Patrika, 15 September 1950
Basumati Patrika, 30 December 1950
Bibhav, Bahurupi Magazine, Issue 69, 1 May 1988, Editor: Kumar Roy
Janasevak, 26 June 1964
Jagannath Ghosh, Shambhu Mitrer Natya Charcha, First Published January 1998, Dey’s Publishing, Kolkata, p. 59
Ananda Bazar Patrika, 7 December 1952
Subir Ray Chowdhury, Shambhu Mitrer Sange Kichukhon: Ekti Sakshatkar, Jugantar, 2 September 1990
Shambhu Mitra, Kake Bole Natyakala, First Edition, 1991, Ananda Publishers Private Limited, Kolkata, p. 53
Ibid., p. 23
Shaoli Mitra, Shambhu Mitra: Abhinayer Anusandhan, Edited by Shaoli Mitra, Shambhu Mitra: Dhane O Antardhane, First Published Bhadra 1998, Nandanik, Kolkata, p. 75
