Joya Ahsan
Actor
Starting with modelling, Joya Ahsan has broadened her profile on both TV and silver screen -- in a career spanning over a decade. Some call her the “brightest actor of this generation”. Despite being hugely popular in mainstream, she has been bold in experimenting with roles that are considered “off track”.
Joya is selective, choosing only the scripts that offer ample opportunities to showcase her acting prowess. Even if the role requires hard dedication and toil, she doesn't get deterred.
She went and stayed at brothels in Rajbari to learn about sex workers, in a bid to add authenticity to her portrayal of one. Joya was able to pull it off brilliantly in the play, “Tarporo Angurlota Nondo-ke Bhalobashe”. She also stayed with Jatra artistes to learn about their lives from close proximity. Only after getting a good understanding, Joya finally stood in front of the camera to portray her role as a 'Jatra Princess' [dancer] in the play “Panjabiwala”. These two roles cemented Joya's place among the top actors of Bangladesh.
She also surprised critics by acting in the play “Kuhok”, which was done in the Mymensingh dialect.
Joya Ahsan played her longest running role in the serial “Choita Pagol”, in which she played a rural widow. To get a better understanding of the role Joya spent days in Munshiganj's Holudia village. She had to learn the Noakhali dialect.
Joya's debut on the big screen happened through Nasiruddin Yousuff's Liberation War saga, “Guerrilla”. The film which has received wide appreciation at home and abroad, added to a new dimension to Joya's already thriving career. To play Bilkis in the film, the actor read several books and met with many women who were in their youth in the 1970s. During the 70 days of shooting for the movie, Joya even escaped death by a thread. However, all the hard work paid off.
Joya Ahsan has accepted an offer to act in an Indian movie -- shooting for which will begin this year. She plays a crime reporter in the upcoming film, “Chorabali”.
Joya wishes to leave behind a repertoire of unforgettable performances that would keep her alive in the hearts of the audiences.
By Shah Alam Shazu
Reetu A. Sattar
Actor
Reetu A. Sattar has already carved a niche for herself in the theatre scene. A member of Prachyanat, Reetu joined the troupe in 1999. Her debut performance was in “A Man for All Seasons.” Gradually she landed several major roles and earned plaudits from both the audience and fellow theatre activists.
Born in Dhaka, Reetu was raised in a culturally oriented family. Before joining Prachyanat, she was involved with Muktokantho, a group of elocutionists. Her initiation to theatre was quite dramatic. She and a friend were interested in recitation but wanted to do something else as well. They started watching stage plays regularly. They wanted to join a troupe whose plays fascinated them the most. They were impressed by Prachyanat's performance and coincidentally the troupe was looking for new faces for its upcoming play, “A Man for All Seasons”.
 |
Reetu (centre) as Mastura in Prachyanat's “Koinna”. Photo: Munem Wasif |
Since playing Margaret in “A Man for All Seasons,” Reetu has earned a solid position in her troupe as well as the Dhaka theatre circuit by showcasing her prowess. Reetu proved her versatility through enacting different roles in the troupe's ground-breaking productions such as “Circus Circus” (as Sultana), “Koinna” (Mastura), “Rhinoceros” (Daisy), “Punarjanmo” (Irene) and “Mayer Mukh” (Elderly Lady).
She said that it was a great opportunity for her to get a role like Margaret as a debutant. Reetu also performed in “Raja Ebong…Onnanno” and in the Theaterwala Repertory production, “Shylock and Sycophants.”
She admits that Mastura (from “Koinna”) moved her the most and drove her to take acting seriously. She considers the character a turning point in her career. The theme of the play, Shahajiya -- a school of thought -- opened a door for her to learn about traditions and rituals.
Reetu is of the view that an actor should try every medium. Apart from theatre, Reetu is a regular face on the small and big screen. She has already worked in critically acclaimed films including Nasiruddin Yousuff's “Guerrilla”, Rubaiyat Hossain's “Meherjaan”, Hasibur Reza Kallol's “Aundho Nirangam” and Sadique Ahmed's “The Last Thakur”.
With over a decade of experience, Reetu observes that Bangladeshi theatre is not technically well equipped yet to compete at the international level. She feels that theatre needs more skilled technicians.
By Jamil Mahmud
Priyanka Gope
Classical Vocalist & Teacher
 |
|
| Photo: Star |
Priyanka Gope is now a lecturer at the Department of Music, Dhaka University and a part-time classical music teacher at Chhayanaut Sangeet Bidyayatan. Her classical taalim (training) formally began under Ustad Ananda Chakraborti of Tangail. She was a member of Udichi's Tangail unit. Before going to Rabindra Bharati University to study Classical Music, on a scholarship, Priyanka took further lessons from Dr. Asit Roy of Rajshahi University in 2002.
Apart from studying at Rabindra Bharati University (2003-2008) of Kolkata, Priyanka took khayal lessons exclusively from ITC Sangeet Research Academy guru Pt. Arun Bhaduri. She also learnt thumri from Pt. Urmi Das Gupta and Pt. Purnima Chowdhury, and dhrupad from Falguni Mitra.
“I love to perform both khayal and thumri. Khayal recital engages the vocalist in a game of melody and notes, while thumri, with its lyrics, represents a rhythmic play. The synopsis of the lyrics is called bhao. One who has a mastery over bhao, can steal the show with thumri, though good command over khayal is a prerequisite to thumri performance,” Priyanka explains.
“Thumri articulates the vocalist's longing to be reunited with the beloved, often in the form of Krishna. It is rendered on a lighter note and improvisation is relaxed,” she adds.
The talented artiste received Uday Shankar Bhattacharya Smriti Puroshkar 2006 for attaining the highest score (first class first) in her B.Mus examination.
Priyanka also came first in khayal and thumri rendition at the All India Classical Competition (Dover Lane Conference) in 2008. At competitions arranged by West Bengal State Music Academy, she also won in Nazrul Sangeet (2004), and in khayal and thumri (2006).
“I enjoy singing evening ragas like Yaman, Puria, Madhuwanti, Behag and Malkauns. All the ragas are time and season bound, and are also closely associated with nature,” the artiste says.
“Though my background is in classical music, I try to render Nazrul and Rabindra Sangeet with utmost sincerity. The profound lyrics of Rabindra Sangeet make me think again and again, while the raga-based melodies of Nazrul Sangeet make me float on the ocean of classical music,” Priyanka says.
Priyanka participated in a classical music festival, held at Vishnupur (West Bengal), as a guest artiste. She also performed Nazrul Sangeet on Akashbani (Kolkata) as an invited artiste. She has performed on several Indian TV channels, namely Tara Bangla, ETV Bangla and DD Bangla.
She is an A Grade artiste of Betar (radio) and BTV.
Last year, three of her albums were launched which were big hits in the market. “Sur-e Sur-e Dekha Hobey” was her solo album produced by Bengal Foundation. Music exponent Mohammad Asafuddowla wrote and composed the songs for the album while Durbadal Chattopadhyay directed music for it.
“What is heartening is that the audiences are showing more interest towards quality music, especially classical music. I would love to bring out a classical music album where khayal and thumri will get predominance. I want good wishes and blessings from all. I ardently wish that the audiences continue to listen to quality music and honour accomplished artistes,” the artiste says.
“We still have a long way to go in popularising classical music. Affluent music connoisseurs have to come forward to this cause. Real talents should be nurtured and highlighted,” she says.
“I'll continue practicing classical music till the end. I would like to popularise the genre through my renditions,” Priyanka hopes.
Compiled by Star A&E Correspondent