Written by Prantik Deka
In the vibrant theatrical landscape of Assam, renowned playwright Arun Sarma occupies a distinguished position. Among Sarma’s most widely discussed dramatic works, Anupam Andhar, translated as Dark is Beautiful, stands out as a significant contemporary Assamese play. First published in 2013, it also remains one of the last major full-length scripts in his remarkable literary career. As a playwright, Arun Sarma has distinguished himself through this work, which invites considerable reflection.
Noted theatre director Manik Roy recently staged Anupam Andhar at the Surjya Club Auditorium, presented by the Guwahati Sishu Natya Vidyalaya (GSNV), a prominent theatrical institution. The production featured only two characters from the original, character-rich play and was executed in an intimate manner. Both performers were, in fact, adolescents.
Roy’s choice of two capable actors considerably eased the directorial challenge. Sustaining audience engagement for approximately 55 minutes with just two characters is by no means simple, especially given their limited opportunity to fully utilise the stage space. Nevertheless, the performances of Mriganga Raj Roy as Suman and Atrayee Gogoi Dutta as Anita were outstanding.
In Anupam Andhar, the audience observes two adolescents dwelling within darkness, yet both yearn to lead lives of their own and to revere beauty. The dramatic irony inherent in the play lies in the fact that both characters are, in actuality, visually impaired. Nevertheless, neither character possesses awareness of this condition. Each assumes that the other perceives the world, while both inhabit an identical reality — that of darkness.
In the waiting room of a busy railway station, Suman, accompanied by his elder brother, takes a seat. His elder brother then steps outside, leaving Suman behind. Hailing from Duliajan, Suman has a passion for music and is a great admirer of Bob Marley. He has come to Guwahati to participate in a music competition.
At that moment, Anita enters the waiting room accompanied by her uncle and seats herself on the same bench occupied by Suman. Subsequently, the uncle departs to procure refreshments. Suman introduces himself to Anita. As their conversation progresses, the initial awkwardness gradually dissipates, and they become increasingly comfortable with one another.
Anita, a student of classical music, holds a profound regard for Dr. Bhupen Hazarika. Both individuals converse primarily about music, while a range of everyday domestic topics also arises in their discussions. In the course of these interactions, a mutual attraction gradually and inadvertently develops between them.
The crucial aspect to consider is the reaction of these two visually impaired adolescents upon discovering that both of their experiences are shrouded in darkness. Within the framework of the play, it may chiefly be articulated as an intellectual dramatic inquiry focused on perception, existence, reality, and feeling.
The methods of production, use of stage language, and character handling in the play make it a notable representation of contemporary theatrical ideas. The protagonists, who are visually impaired, shape the world of the play through sensation, sound, touch, and intuition. The play’s reality is therefore not an ‘objective reality’ but a ‘subjective reality’, and the audience encounters it through the perceptions of the two central characters.
The play relies on suggestion, silence, and absence rather than direct depiction, leaving much to the audience’s imagination. The bond between the characters is not rooted in physical attraction but rather in a ‘bridge of darkness’, fundamentally a bridge of events.
In Anupam Andhar, the characters embrace their blindness, perceiving it not as a limitation but as a distinctive aspect of their identity. The central strength of the play is that it does not depict blindness as a lack, but as a different mode of perception.
By the end of the play, the arrival of the train symbolises both time and destiny. The railway station waiting room functions as a powerful metaphor for an intermediate stage of life, where strangers briefly meet, share conversations and emotions, and then part. However, the play quietly suggests that even the most transient encounters leave lasting impressions at the emotional level.
The revelation that Suman and Anita will board the same train subtly suggests fate at work, showing how people on separate journeys can arrive at the same emotional destination.
Mriganga Raj Roy and Atrayee Gogoi Dutta have fully immersed themselves in their roles, demonstrating deep dedication to authentically representing individuals with visual impairments. Their performances effectively convey the experience through various physical and behavioural elements, including the blank stare, the turning of the face toward sound, and deliberate pauses in speech. These subtle actions prove to be more impactful than the spoken dialogue itself.
In Anupam Andhar, an aesthetic quality is established through the elements of silence and restraint. The absence of melodrama and overt expressions is replaced by solitude, anticipation, and a unique tenderness.
The individual responsible for this remarkable achievement is Manik Roy, who has adeptly conceived and directed the play. The efficacy of the director’s character creation in the context of performance endures beyond the conclusion of the play.
Anupam Andhar is co-directed by Runumi Devi, with music composed by Diganta Sarma and Akash. The lighting is managed by director Manik Roy, while the vocal performances are delivered by Uttam Kumar Deka, Dhiraj Mazumder, Akash, Rajib Lochan Gogoi, and Nisthawali Madhukalya.