About Drama
This drama is based on truthfulness but there has any historical incident been happened or not if this duty goes to historian, audience will despoil. So, this is it from Poet’s believe it’s totally true. What is the name of the place where the incident has happened may be the
historian could differ. Bu everyone knows its nickname “Jokkhopuri”- mine. Scholars say, in mythological mine there is a gold throne, God of Wealth- Kuber.But this play is mainly not mythological, even not metaphorical. But the told setting is where wealth is hidden in mud. So, after getting information here tunnel carving is going on. For this people cal l it Jokkhopuri. We will become acquainted with them in proper time.
Nobody hopes that there will be the similarity in between historian for the real name of the king of Jokkhopuri. We only know that he has a nickname- Mokorraj. We will also know the real reason for this name. There is a curtain window in outside of palace. Mokorraj comes and meets people when he wishes. What he is, is comes out from the discussion of the player, nothing more disclosed. Sardar are most qualified and wise in this kingdom. They are very intimate to king. They are very alert so that the tunnel carver’s work runs smoothly and the development of Jokkhopuri runs constantly. Morol of this Jokkhopuri once was tunnel carver but now they have gained post and position for
their own quality. If the law and order is called full moon then its guilty goes to Morol. Rather there is a priest, namely Gosai. He praises for God but takes food from Sardar. He is very useful for Jokkhopuri. Sometimes there is found some fishes in fishermen net who are not able to eat. Those are not for eat or anything but cuts the net. In this play Nandini is as like same fish. She couldn’t be lasted Mokorraj overall.

                                                             Director’s Play Role

When a director chooses a script, there lies some reason for choosing. These
questions are out of questions. We, Prangonemor declared at the very beginning
that in our practice will more emphasize in Tagore’s play because we believe there
is no alternative for pure drama. As our prime concern in Rabindranath Tagore, his
famous play in Bengali Literature, Rakta Karabi will be our dream, its normal. We
firmly believe that last five years we have made our resources in our team to stage
this play. I become astonished when I can hear whispering that why should we
need to stage Rakta Karabi whereas another theatre group is stages this play in
Dhaka. Humbly, I can tell them that the Director of that play also believes Rakta
Karabi is not personal property. Better we should advance for healthy creative
Now, let’s say about the drama. I don’t have need to say more what and why the
drama is? Tagore has said, “May be you will try to find out the inner meaning from
the core of the drama but my request is that the soberness outs when the core
things come out. Heart works behind the chest. If you bring it outer side and works
on it then it will damage.” So that I want to request the audience of Rakta Karabi
that to enjoy this play you need a soft heart otherwise you will be distracted.
Rather I’ve to say why this play is relevant. Although, this play does not represent
any era, it’s the representative of the present capitalism. We can find the creature
and no creature fact. We can understand how the own power is squishing. We can
see how the powerful brings gold from the mine. The eagerness of collecting gold
exile him from his life and man becomes number. Nowadays man can understand
that there is no congestion in power but love.
Nuna Afroz

On Stage
Nandini : Nuna Afroz
Kishore : Abu Hayat Jasim/ Porosh
Gokul : Iqram Mahfuz/Polash
Raja : Ananta Hira
Fagulal : Amirul Mamun/ Rigan
Chandra : Chaitali Somoddar/ Suvechha Rahman
Bishu : Ramiz Raju
Sardar : Awal Reza
Goshai : Shishir Rahman
Morol : Sarwar Alam Saikat
Puranbagish : Nijam Jahan/ Shuvo
Palowan : Sagar Roy
Khodaikor : Shuveccha, Monir, Miraj, Kishore, Rigan, Shimanto, Nina,Afsar, Sumi, Morshed, Shishir Sannal, Nasir Rasel.

Back Stage
Direction : Nuna Afroz
Light Design : Thandu Raihan
Set Design : Fayez Johir
Music : Jakir Hossain Shiplu
Costume Design : Nuna Afroz
Poster Design : Mazumdar Biplob
Still Photograph : Imtiaz Ahmed Dulu
Choreography : Chaitali Somoddar, Ramiz Raju
Singer : Jakir Hossain Shiplu, Shishir Rahman, Shibani Shaha, Ramiz

Raju, Chaitali Somoddar.

Instruments : Probir Paul, Rana, Shamim, Hasan, Biplob Barua, Jakir

Music Operation : Bandhu Tuhin/Litu Roy
Light Operation : Taufiq Azim Robin, Najib Mahfuz
Makeup : Tapan Das
Hall Management : Probir Paul, Babu, Jahid, Polash, Robi Khan, Shibani, Apu,
Sabbir, Jaman, Dalim, Mushfiq, Rajib, Gazi Rasel, Niaz,
Biplob, Nadim, Sumonto, Mamun, Noyon, Kornab, Shubho,
Liton Roy, Farid, Raj, Rifat, Bikram, Sujon, Niyoti.

Ticket : Mainul Tawhid
Press u0026amp;amp;
Publications : Sarwar Alam Saikat
Stage Manager : Sagar Roy
S. M. Assistant : Bandhu Tuhin