SUDIP CHAKROBORTHY

Sudip Charkroborthy is a theatre actor and activist of Bangladesh and the current Chairperson of the Department of Theatre & Performance Studies, University of Dhaka. His is also a researcher, with research publications on women in theatre in Bangladesh, theatre in education and indigenous theatre of Bangladesh. Sudip has participated in theatre workshops, seminars and festivals in Bangladesh, India, South Korea, England, Scotland and the US. He has directed and designed plays staged in UK, South Korea, India and many places in Bangladesh.

1. What made you chose a career in theatre?
When I was a child I used to see some of my friends doing shows in our local town. They entertained a large number of
people and because of that my friends used to get a type of special treatment from the community, which I didn't get. This motivated me in different ways and made me think “Why can't I start doing the same?” That is how my journey began in the world of theatre.

2. Choosing to study theatre is not a usual decision in Bangladesh. How did your family accept your decision?
When I first got my merit list from Dhaka University, subjects like theatre, history, etc. were on it. Then I felt like taking theatre and many of my previous mentors encouraged me to take it. My mother told to study whatever I want. I would like to say that my mother has been the most supportive person on my journey.

3. Is there a difference between teaching people about theatre and acting on stage yourself?
Yes there is clearly a difference. When it comes to teaching there are a lot of things to maintain and everybody has to be punctual and follow some disciplines. But when I work in different groups outside I miss that punctuality. On the other hand I do get a lot of inspiration working with people despite that lack of punctuality.

4. Do ever feel like only practicing theatre instead of teaching and practicing at the same time?
Yes I have been thinking about it for the last two years. I would love to go on tours and practice theatre full-time someday.

5. Are you satisfied with the theatre scenario in Bangladesh?
No, I can't say I that I am satisfied. In my opinion, the government can help. The government can make a national theatre group. Many countries around the world like Poland, Kenya, etc. have national theatre groups. This might change our theatre scenario.

6. So tell us why we don't we have a national theatre group?
I am not sure if anyone ever tried to approach the government or make them understand that we might need a national theatre group. Maybe that is why.

7. Why has the production quality of theatres decreased over the years?
People are losing interest in theatres. It is difficult to make a living working in theatres full-time. The main reason behind it is the lack of remuneration. Many actors and actresses from theatres stopped working and shifted towards television and films to make money and earn a living.

8. What is biggest problem in the Bangladeshi theatre scenario?
The number of people going to plays has decreased and I've also mentioned that we might need a national theatre group and we somehow need to attract more people to come to our plays.

9. Why aren't we seeing new and innovative form of theatre arts?
There are many different forms of theatrical performances like stand-up comedy, ventriloquism, mime, clowns, etc. The biggest problem is that people have a lack of interest and this lack of interest occurs because the potential of making money from theatre in our country is low. Someday, I hope people will start going to theatre and enjoy the art and the hard work the performers put up with. The other problem is performers are getting frustrated with the lack of money they get for such hard work.

10. What are some of your future plans?
I have plans to work on plays abroad and expose Shakespeare to a wider audience. I would love to target the young audience.