Analysis Of Fagun Rater Goppo

On the other hand Noye Natua in their “Fagun raten Goppo” , an adaptation of the Bard’s “A Midsummer night’s dream” uses bengali folk song and hindi song for showing the celebratory ambience of all Shakespearean comedy to initiate the Indianization. The fairies become the ghosts of the native Indian fairy tales, with fitting attire and behavior of the Indian Adibasis. The presentation of the uproarious and celebratory world of Shakespearean comedy is done through intellectual usage of the Bengali language and its rural dialect. Wit, humour and pun, exploited in abundance, were perfectly suiting to the demand of the language. It’s a treat to see how the adaptor wedded the Shakespearean theme to the Bengali language to create a perfect Indianization.

It also shows that how this can evoke hilarious laughter even in tragic moments of the play. This is not only a mocking of Elizabethan times but also of Indian ancient theater where similar was the custom. This actually draws a parallel between the cultures of two different times and place on the basis of social strictures and how it affected the tradition of

And puck takes this responsibility of evoking the needful truth, that this false world utters, through breaking the fourth wall, by appearing in the audience. Puck gives the message that amidst all this blissfulness and unison the chief realization that the play offers about the realistic understanding of fantasy, shown through this dreamy world should not be missed by the audience. In case of “Mumbai Nights”, the fourth wall is broken by the narrator communicating directly to the audience saying that this is going to be a performance of an opera prepared for