ব্রাত্য বসু রচিত নাটক সমগ্র 1

It is not unknown that established writers of Bengali literature are generally uninterested in writing plays. They show reluctance to write plays. Despite the reluctance of powerful and renowned writers, plays are still written. Those who do write plays mainly do so in response to the needs of contemporary theater. As a result, in these plays, the deep pains and joys of life, the search for the self, and self-discovery are often hindered by the constraints of necessity. However, the playwright's and the play's significant role lies in the nuanced and profound understanding required to truly grasp any situation or problem of human life or society.

In the continuous and uninterrupted history of Bengali literature and the art of acting, some playwrights create a theatrical essence that defies the character nature of contemporary theater. To internalize this essence, the contemporary theater must break its boundaries, expand, and grow. Bratya Basu is one such rare playwright, a promising young talent. On the one hand, he is a dedicated worker of Bengali theater, and on the other hand, he is the creator of several significant plays closely connected to life. His plays Aranyadeb, Shahar Iyar, Virus-M, Winkle-Twinkle, and others are not only popular on the Bengali stage but are also foundational works in modern dramatic literature, marked by their various implications.

His play Ashalin was hailed by critics as the first postmodernist Bengali play. Alongside that, themes like political fantasy, the relationship between nature and man, music and the bond of life, nihilism, the conflict between revolution and love, time and civilization, and other such topics are depicted in his plays through imagination, symbolism, and real-world representations. Bratya recognizes the vast role of drama as a medium for expressing human thoughts, rather than focusing solely on writing plays for the stage. As a result, his plays are both successful on stage and rich in content.