SSCSSC Seen

SSC Unit: 7 Lesson 2 (B) The art of silence

Culturally rich Bangladesh is the homeland of an artist whose fame took him across the border and honoured him with different national and international awards.  Have you heard about Partha Pratim Majumder?

āĻ¸āĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāĻ¤āĻŋāĻ•āĻ­āĻžāĻŦā§‡ āĻ¸āĻŽā§ƒāĻĻā§āĻ§ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻāĻŽāĻ¨ āĻāĻ•āĻœāĻ¨ āĻļāĻŋāĻ˛ā§āĻĒā§€āĻ° āĻœāĻ¨ā§āĻŽāĻ­ā§‚āĻŽāĻŋ, āĻ¯āĻžāĻāĻ° āĻ¸ā§āĻ¨āĻžāĻŽ āĻ¤āĻžāĻāĻ•ā§‡ āĻĻā§‡āĻļā§‡āĻ° āĻ—āĻ¨ā§āĻĄāĻŋ āĻ›āĻžā§œāĻŋā§Ÿā§‡ āĻŦāĻžāĻ‡āĻ°ā§‡ āĻ¨āĻŋā§Ÿā§‡āĻ›āĻŋāĻ˛ āĻāĻŦāĻ‚ āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āĻ¨ āĻœāĻžāĻ¤ā§€ā§Ÿ āĻ“ āĻ†āĻ¨ā§āĻ¤āĻœāĻžāĻ°ā§āĻ¤āĻŋāĻ• āĻĒā§āĻ°āĻ¸ā§āĻ•āĻžāĻ°ā§‡āĻ° āĻŽāĻžāĻ§ā§āĻ¯āĻŽā§‡ āĻ¸āĻŽā§āĻŽāĻžāĻ¨āĻŋāĻ¤ āĻ•āĻ°ā§‡āĻ›āĻŋāĻ˛āĨ¤ āĻ¤ā§‹āĻŽāĻ°āĻž āĻ•āĻŋ āĻĒāĻžāĻ°ā§āĻĨ āĻĒā§āĻ°āĻ¤āĻŋāĻŽ āĻŽāĻœā§āĻŽāĻĻāĻžāĻ°ā§‡āĻ° āĻ•āĻĨāĻž āĻļā§āĻ¨ā§‡āĻ›?

He is a maestro performer of mining art. If food is nutrition for a body, art is the nutrition of soul. To keep the souls alive and fresh different arts like music, dance, paintings have evolved during the ancient time.

āĻ¤āĻŋāĻ¨āĻŋ āĻŽā§‚āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿ āĻļāĻŋāĻ˛ā§āĻĒā§‡āĻ° āĻāĻ•āĻœāĻ¨ āĻĒā§āĻ°āĻ–ā§āĻ¯āĻžāĻ¤ āĻ…āĻ­āĻŋāĻ¨ā§‡āĻ¤āĻžāĨ¤ āĻ–āĻžāĻĻā§āĻ¯ āĻļāĻ°ā§€āĻ°ā§‡āĻ° āĻœāĻ¨ā§āĻ¯ āĻĒā§āĻˇā§āĻŸāĻŋ āĻšāĻ˛ā§‡, āĻļāĻŋāĻ˛ā§āĻĒāĻ•āĻ°ā§āĻŽ āĻ†āĻ¤ā§āĻŽāĻžāĻ° āĻĒā§āĻˇā§āĻŸāĻŋāĨ¤ āĻ†āĻ¤ā§āĻŽāĻžāĻ•ā§‡ āĻĒā§āĻ°āĻžāĻŖāĻŦāĻ¨ā§āĻ¤ āĻ“ āĻ¸āĻ¤ā§‡āĻœ āĻ°āĻžāĻ–āĻžāĻ° āĻœāĻ¨ā§āĻ¯ āĻĒā§āĻ°āĻžāĻšā§€āĻ¨ āĻ†āĻŽāĻ˛ā§‡ āĻ¸āĻ‚āĻ—ā§€āĻ¤, āĻ¨ā§ƒāĻ¤ā§āĻ¯, āĻšāĻŋāĻ¤ā§āĻ°āĻžāĻ™ā§āĻ•āĻ¨ā§‡āĻ° āĻŽāĻ¤ā§‹ āĻ¨āĻžāĻ¨āĻžāĻŽā§āĻ–ā§€ āĻļāĻŋāĻ˛ā§āĻĒā§‡āĻ° āĻŦāĻŋāĻ•āĻžāĻļ āĻ•āĻ°ā§‡āĨ¤

Humankind has tried to express himself from the very beginning of civilization.  These expressions have taken the forms of art with the touch of his creativity expressing the untold in silence.

āĻ¸āĻ­ā§āĻ¯āĻ¤āĻžāĻ° āĻāĻ•āĻĻāĻŽ āĻļā§āĻ°ā§ āĻĨā§‡āĻ•ā§‡āĻ‡ āĻŽāĻžāĻ¨āĻŦāĻœāĻžāĻ¤āĻŋ āĻ¨āĻŋāĻœā§‡āĻ•ā§‡ āĻĒā§āĻ°āĻ•āĻžāĻļ āĻ•āĻ°āĻžāĻ° āĻšā§‡āĻˇā§āĻŸāĻž āĻ•āĻ°ā§‡āĻ›ā§‡āĨ¤āĻ…āĻŦāĻ°ā§āĻ¨āĻŋāĻ¤ āĻŦāĻŋāĻˇā§ŸāĻžāĻĻāĻŋ āĻ¨ā§€āĻ°āĻŦā§‡ āĻĒā§āĻ°āĻ•āĻžāĻļ āĻ•āĻ°āĻ¤ā§‡ āĻ¤āĻžāĻ° āĻāĻ‡ āĻ…āĻ­āĻŋāĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋāĻ¸āĻŽā§‚āĻš āĻ¸ā§ƒāĻœāĻ¨āĻļā§€āĻ˛āĻ¤āĻžāĻ° āĻ¸ā§āĻĒāĻ°ā§āĻļā§‡ āĻļāĻŋāĻ˛ā§āĻĒāĻŋāĻ° āĻ°ā§‚āĻĒ āĻ¨āĻŋā§Ÿā§‡āĻ›ā§‡āĨ¤

It is an art of depicting a character, mood, idea or narration through gestures and bodily movements without any utterance. This ancient dramatic entertainment represents the primitive time when people would use signs as a medium of communication.

āĻāĻŸāĻŋ āĻ•ā§‹āĻ¨ā§‹āĻ°āĻ•āĻŽ āĻ‰āĻ•ā§āĻ¤āĻŋ/ āĻ‰āĻšā§āĻšāĻžāĻ°āĻŖ āĻŦā§āĻ¯āĻ¤āĻŋāĻ°ā§‡āĻ•ā§‡, āĻļā§āĻ§ā§ āĻ…āĻ™ā§āĻ—āĻ­āĻ™ā§āĻ—āĻŋ āĻ“ āĻļāĻžāĻ°ā§€āĻ°āĻŋāĻ• āĻ—āĻ¤āĻŋāĻŦāĻŋāĻ§āĻŋāĻ° āĻŽāĻžāĻ§ā§āĻ¯āĻŽā§‡ āĻāĻ•āĻŸāĻŋ āĻšāĻ°āĻŋāĻ¤ā§āĻ°, āĻŽāĻ¨ā§‡āĻ° āĻ­āĻžāĻŦ, āĻ§āĻžāĻ°āĻ¨āĻž āĻŦāĻž āĻŦā§ƒāĻ¤āĻžāĻ¨ā§āĻ¤āĻ•ā§‡ āĻšāĻŋāĻ¤ā§āĻ°āĻŋāĻ¤ āĻ•āĻ°āĻžāĻ° āĻāĻ•āĻŸāĻŋ āĻļāĻŋāĻ˛ā§āĻĒāĻ•āĻ°ā§āĻŽāĨ¤ āĻāĻŸāĻŋ āĻĒā§āĻ°āĻžāĻ¨ā§‹ āĻ¨āĻžāĻŸāĻ•ā§€ā§Ÿ āĻ…āĻ­āĻŋāĻ¨ā§Ÿ āĻ¸ā§‡āĻ‡ āĻĒā§āĻ°āĻžāĻšā§€āĻ¨ āĻ†āĻŽāĻ˛āĻ•ā§‡ āĻ¤ā§āĻ˛ā§‡ āĻ§āĻ°ā§‡, āĻ¯āĻ–āĻ¨ āĻŽāĻžāĻ¨ā§āĻˇ āĻ¯ā§‹āĻ—āĻžāĻ¯ā§‹āĻ—ā§‡āĻ° āĻŽāĻžāĻ§ā§āĻ¯āĻŽ āĻšāĻŋāĻ¸ā§‡āĻŦā§‡ āĻ‡āĻļāĻžāĻ°āĻž/ āĻ¸āĻ‚āĻ•ā§‡āĻ¤ āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻ•āĻ°āĻ¤āĨ¤

In Bangladesh, the boy named Partha Pratim Majumder from Pabna overwhelmed people with this art. He left people memorized by his graceful presentation of art of silence.

āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡ āĻĒāĻžāĻŦāĻ¨āĻžāĻ° āĻĒāĻžāĻ°ā§āĻĨ āĻĒā§āĻ°āĻ¤āĻŋāĻŽ āĻŽāĻœā§āĻŽāĻĻāĻžāĻ° āĻ¨āĻžāĻŽāĻ• āĻ›ā§‡āĻ˛ā§‡āĻŸāĻŋ āĻāĻ‡ āĻļāĻŋāĻ˛ā§āĻĒāĻ•āĻ°ā§āĻŽ āĻĻāĻŋā§Ÿā§‡ āĻ˛ā§‹āĻ•āĻœāĻ¨āĻ•ā§‡ āĻ…āĻ­āĻŋāĻ­ā§‚āĻ¤ āĻ•āĻ°ā§‡āĻ¨āĨ¤Â  āĻ¤āĻŋāĻ¨āĻŋ āĻ˛ā§‹āĻ•āĻœāĻ¨āĻ•ā§‡ āĻ¤āĻžāĻāĻ° āĻ¨ā§€āĻ°āĻŦāĻ¤āĻž āĻļāĻŋāĻ˛ā§āĻĒā§‡āĻ° āĻšāĻŽā§ŽāĻ•āĻžāĻ° āĻ…āĻ­āĻŋāĻ¨ā§Ÿā§‡āĻ° āĻĻā§āĻŦāĻžāĻ°āĻž āĻŽāĻ¨ā§āĻ¤ā§āĻ°āĻŽā§āĻ—ā§āĻ§ āĻ•āĻ°ā§‡āĻ¨āĨ¤

It was like a new era in theater art in Bangladesh when Partha came with effort to make people look at their everyday experience, but in a new form. He made people reveal meanings for all trivial things of life which they experience, but in a new form.

āĻĒāĻžāĻ°ā§āĻĨ āĻ¯āĻ–āĻ¨ āĻ¤āĻžāĻāĻ° āĻĒā§āĻ°āĻšā§‡āĻˇā§āĻŸāĻž āĻĻāĻŋā§Ÿā§‡ āĻŽāĻžāĻ¨ā§āĻˇāĻ•ā§‡ āĻ¤āĻžāĻĻā§‡āĻ° āĻĻā§ˆāĻ¨āĻ¨ā§āĻĻāĻŋāĻ¨ āĻœā§€āĻŦāĻ¨ā§‡āĻ° āĻ…āĻ­āĻŋāĻœā§āĻžāĻ¤āĻž āĻŦāĻŋāĻļā§‡āĻˇāĻ­āĻžāĻŦā§‡ āĻ•āĻŋāĻ¨ā§āĻ¤ā§ āĻ¨āĻ¤ā§āĻ¨ āĻ°ā§‚āĻĒā§‡ āĻĻā§‡āĻ–āĻ¤ā§‡ āĻĒā§āĻ°āĻ°ā§‹āĻšāĻŋāĻ¤ āĻ•āĻ°āĻ˛ā§‡āĻ¨ āĻ¤āĻ–āĻ¨ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡āĻ° āĻ¨āĻžāĻŸā§āĻ¯āĻļāĻŋāĻ˛ā§āĻĒā§‡ āĻāĻŸāĻŋ āĻāĻ•āĻŸāĻŋ āĻ¨āĻ¤ā§āĻ¨ āĻ¯ā§āĻ—ā§‡āĻ° āĻŽāĻ¤ā§‹ āĻ›āĻŋāĻ˛āĨ¤

He made people reveal meanings for all trivial things of life which they usually would overlook. He used to depict stories of sadness, laughter, different characters, birds, insects or even animals through his miming.

āĻ¤āĻŋāĻ¨āĻŋ āĻŽāĻžāĻ¨ā§āĻˇāĻĻā§‡āĻ° āĻĻāĻŋā§Ÿā§‡ āĻœā§€āĻŦāĻ¨ā§‡āĻ° āĻ›ā§‹āĻŸāĻ–āĻžāĻŸā§‹ āĻŦāĻŋāĻˇā§ŸāĻžāĻĻāĻŋāĻ° āĻ…āĻ°ā§āĻĨ āĻŦā§‡āĻ° āĻ•āĻ°ā§‡āĻ¨, āĻ¯ā§‡āĻ—ā§āĻ˛ā§‹ āĻ¤āĻžāĻ°āĻž āĻ¸āĻšāĻ°āĻžāĻšāĻ° āĻ‰āĻĒā§‡āĻ•ā§āĻˇāĻž āĻ•āĻ°ā§‡ āĻšāĻ˛āĻ¤āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻ¤āĻžāĻāĻ° āĻŽā§‚āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿā§‡āĻ° āĻŽāĻžāĻ§ā§āĻ¯āĻŽā§‡ āĻĻā§āĻƒāĻ–, āĻšāĻžāĻ¸āĻŋ, āĻ¨āĻžāĻ¨āĻž āĻ§āĻ°āĻ¨ā§‡āĻ° āĻšāĻ°āĻŋāĻ¤ā§āĻ°, āĻĒāĻžāĻ–āĻŋ, āĻĒāĻ¤āĻ™ā§āĻ— āĻ…āĻĨāĻŦāĻž āĻĒā§āĻ°āĻžāĻŖāĻŋāĻ•ā§‚āĻ˛ā§‡āĻ° āĻ•āĻžāĻšāĻŋāĻ¨ā§€ āĻĢā§āĻŸāĻŋā§Ÿā§‡ āĻ¤ā§āĻ˛āĻ¤ā§‡āĻ¨āĨ¤

Some of his topics are the portrayal of a thief stealing, one-side love, picking up flower and hurting it, delicate changes in nature, etc. His actions often led one-sided love, picking up flower and hurting it, delicate changes in nature, etc.

āĻšā§āĻ°āĻŋāĻ°āĻ¤ āĻ…āĻŦāĻ¸ā§āĻĨāĻžā§Ÿ āĻšā§‹āĻ°, āĻāĻ•āĻ¤āĻ°āĻĢāĻž āĻĒā§āĻ°ā§‡āĻŽ, āĻĢā§āĻ˛ āĻ¤ā§āĻ˛ā§‡ āĻ›āĻŋāĻā§œā§‡ āĻāĻ•ā§‡ āĻ•āĻˇā§āĻŸ āĻĻā§‡āĻ“ā§ŸāĻž, āĻĒā§āĻ°āĻ•ā§ƒāĻ¤āĻŋāĻ° āĻ¸ā§‚āĻ•ā§āĻˇā§āĻŽ āĻĒāĻ°āĻŋāĻŦāĻ°ā§āĻ¤āĻ¨ āĻ‡āĻ¤ā§āĻ¯āĻžāĻĻāĻŋāĻ° āĻšāĻŋāĻ¤ā§āĻ°āĻžā§ŸāĻ¨ āĻ¤āĻžāĻ° āĻ•āĻŋāĻ›ā§ āĻ‰āĻĒāĻœā§€āĻŦā§āĻ¯ āĻŦāĻŋāĻˇā§ŸāĨ¤ āĻ¤āĻžāĻāĻ° āĻ•āĻ°ā§āĻŽāĻ•āĻžāĻ¨ā§āĻĄāĻ—ā§āĻ˛ā§‹ āĻĒā§āĻ°āĻžā§ŸāĻļ āĻ¨āĻžāĻ¨āĻžāĻ¨ āĻŦāĻŋāĻˇā§Ÿā§‡āĻ° āĻļā§āĻ°ā§‹āĻ¤āĻžāĻŽāĻ¨ā§āĻĄāĻ˛ā§€āĻ° āĻŦāĻŋāĻŦā§‡āĻ•āĻ•ā§‡ āĻœāĻžāĻ—āĻŋā§Ÿā§‡ āĻ¤ā§āĻ˛āĻ¤āĨ¤

His actions often led audience to their conscience on different issues. He is regarded as the pioneer of miming in Bangladesh. Partha Cherished a passion from his very childhood.

āĻ¤āĻžāĻāĻ° āĻ•āĻ°ā§āĻŽāĻ•āĻžāĻ¨ā§āĻĄāĻ—ā§āĻ˛ā§‹ āĻĒā§āĻ°āĻžā§ŸāĻļ āĻ¨āĻžāĻ¨āĻžāĻ¨ āĻŦāĻŋāĻˇā§Ÿā§‡āĻ° āĻļā§āĻ°ā§‹āĻ¤āĻžāĻŽāĻ¨ā§āĻĄāĻ˛ā§€āĻ° āĻŦāĻŋāĻŦā§‡āĻ•āĻ•ā§‡ āĻœāĻžāĻ—āĻŋā§Ÿā§‡ āĻ¤ā§āĻ˛āĻ¤āĨ¤ āĻ¤āĻŋāĻ¨āĻŋ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡āĻ° āĻŽā§‚āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿ āĻœāĻ—āĻ¤ā§‡āĻ° āĻĒāĻĨāĻŋāĻ•ā§ƒā§Ž āĻšāĻŋāĻ¸ā§‡āĻŦā§‡ āĻŦāĻŋāĻŦā§‡āĻšāĻŋāĻ¤āĨ¤ āĻĒāĻžāĻ°ā§āĻĨ āĻ¤āĻžāĻ° āĻļā§ˆāĻļāĻŦāĻ•āĻžāĻ˛ āĻĨā§‡āĻ•ā§‡āĻ‡ āĻļāĻŋāĻ˛ā§āĻĒāĻ•āĻ˛āĻžāĻ° āĻĒā§āĻ°āĻ¤āĻŋ āĻ…āĻ¨ā§āĻ°āĻžāĻ— āĻĒā§‹āĻˇāĻŖ āĻ•āĻ°āĻ¤ā§‡āĻ¨āĨ¤

He was born in to a very cultural minded family on 18 January in 1954. His photographer father nurtured him as a passionate love of art. The family resided in a village called Kalachandrapara.

āĻ¤āĻŋāĻ¨āĻŋā§§ā§¯ā§Ģā§Ē āĻ¸āĻžāĻ˛ā§‡āĻ° ā§§ā§ŽāĻ‡ āĻœāĻžāĻ¨ā§ā§ŸāĻžāĻ°āĻŋ āĻ–ā§āĻŦāĻ‡ āĻ¸āĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāĻ¤āĻŋāĻ• āĻŽāĻ¨ā§‡āĻ­āĻžāĻŦāĻžāĻĒāĻ¨ā§āĻ¨ āĻāĻ• āĻĒāĻ°āĻŋāĻŦāĻžāĻ°ā§‡ āĻœāĻ¨ā§āĻŽāĻ—ā§āĻ°āĻšāĻŖ āĻ•āĻ°ā§‡āĻ¨āĨ¤ āĻ¤āĻžāĻāĻ° āĻ†āĻ˛ā§‹āĻ•āĻšāĻŋāĻ¤ā§āĻ°āĻ—ā§āĻ°āĻžāĻšāĻ• āĻŦāĻžāĻŦāĻž āĻ¤āĻžāĻāĻ•ā§‡ āĻļāĻŋāĻ˛ā§āĻĒāĻ•āĻ˛āĻžāĻ° āĻāĻ•āĻ¨āĻŋāĻˇā§āĻ  āĻĒā§āĻ°ā§‡āĻŽāĻŋāĻ•Â  āĻšāĻŋāĻ¸ā§‡āĻŦā§‡ āĻ˛āĻžāĻ˛āĻ¨ āĻĒāĻžāĻ˛āĻ¨ āĻ•āĻ°ā§‡āĻ¨āĨ¤ āĻĒāĻ°āĻŋāĻŦāĻžāĻ°āĻŸāĻŋ āĻ•āĻ˛āĻžāĻšāĻžāĻāĻĻāĻĒāĻžā§œāĻž āĻ¨āĻžāĻŽāĻ• āĻ—ā§āĻ°āĻžāĻŽā§‡ āĻŦāĻ¸āĻŦāĻžāĻ¸ āĻ•āĻ°āĻ¤āĨ¤

There used to be a lot of cultural programmes in kalachandpara in those days which had an impeccable influence on Partha’s affection for art.

āĻ¸ā§‡ āĻ¸āĻŽā§Ÿ āĻ•āĻžāĻ˛āĻžāĻšāĻžāĻāĻĻāĻĒāĻžā§œāĻžā§Ÿ āĻ…āĻ¨ā§‡āĻ• āĻ¸āĻžāĻ‚āĻ¸ā§āĻ•ā§ƒāĻ¤āĻŋāĻ• āĻ…āĻ¨ā§āĻˇā§āĻ āĻžāĻ¨ āĻ†āĻ¯ā§‹āĻœāĻ¨ āĻ•āĻ°āĻž āĻšāĻ¤ā§‹, āĻ¯ā§‡āĻ—ā§āĻ˛ā§‹āĻ¤ā§‡ āĻĒāĻ°ā§āĻ°āĻŦāĻ°ā§āĻ¤ā§€āĻ¤ā§‡ āĻ¤āĻžāĻāĻ° āĻļāĻŋāĻŖā§āĻĒāĻ•āĻ˛āĻžāĻ° āĻĒā§āĻ°āĻ¤āĻŋ āĻ…āĻ¨ā§āĻ°āĻžāĻ—ā§‡āĻ° āĻĒā§āĻ°āĻ¤āĻŋ āĻ—āĻ­ā§€āĻ° āĻĒā§āĻ°āĻ­āĻžāĻŦ āĻĢā§‡āĻ˛ā§‡āĻ›āĻŋāĻ˛āĨ¤

Destiny introduced Partha to a mime artist Mr. Jogesh Dutta in 1966 when he went to live at his aunt’s home  Chandernagar, 30 kilometers away from Kolkata.

ā§§ā§¯ā§Ŧā§Ŧ āĻ¸āĻžāĻ˛ā§‡ āĻĒāĻžāĻ°ā§āĻĨ āĻ¯āĻ–āĻ¨ āĻ•āĻ˛āĻ•āĻžāĻ¤āĻž āĻĨā§‡āĻ•ā§‡ ā§Šā§Ļ āĻ•āĻŋāĻ˛ā§‹āĻŽāĻŋāĻŸāĻžāĻ° āĻĻā§‚āĻ°ā§‡ āĻšāĻžāĻāĻĻāĻ¨āĻ—āĻ°ā§‡ āĻ¤āĻžāĻāĻ° āĻŽāĻžāĻ¸āĻŋāĻ° āĻŦāĻžā§œāĻŋāĻ¤ā§‡ āĻĨāĻžāĻ•āĻžāĻ° āĻœāĻ¨ā§āĻ¯ āĻ—āĻŋā§Ÿā§‡āĻ›āĻŋāĻ˛ā§‡āĻ¨, āĻ¤āĻ–āĻ¨ āĻ¨āĻŋā§ŸāĻ¤āĻŋ āĻ¤āĻžāĻāĻ•ā§‡ āĻŽā§āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿ āĻļāĻŋāĻ˛ā§āĻĒā§€ āĻŦāĻžāĻŦā§ āĻœā§‹āĻ—ā§‡āĻļ āĻĻāĻ¤ā§āĻ¤ā§‡āĻ° āĻ¸āĻžāĻĨā§‡ āĻĒāĻ°āĻŋāĻšā§Ÿ āĻ•āĻ°ā§‡ āĻĻāĻŋā§Ÿā§‡āĻ›āĻŋāĻ˛āĨ¤

Partha could foresee his future and got admission in Mr. Dutta’s mime academy in Kolkata. The major lift up of his life was when he presented a solo performance at Bangladesh Shilpakala Academy in 1979.

āĻĒāĻžāĻ°ā§āĻĨ āĻ¤āĻžāĻ° āĻ­āĻŦāĻŋāĻˇā§Ž āĻ¸āĻŽā§āĻĒāĻ°ā§āĻ•ā§‡ āĻ†āĻ—āĻžāĻŽ āĻœā§‡āĻ¨ā§‡āĻ‡, āĻ•āĻ˛āĻ•āĻžāĻ¤āĻžā§Ÿ āĻĻāĻ¤ā§āĻ¤ āĻŦāĻžāĻŦā§āĻ° āĻŽāĻžāĻ‡āĻŽ āĻāĻ•āĻžāĻĄā§‡āĻŽāĻŋāĻ¤ā§‡ āĻ­āĻ°ā§āĻ¤āĻŋ āĻšāĻ¨āĨ¤ āĻ¤āĻžāĻ° āĻœā§€āĻŦāĻ¨ā§‡āĻ° āĻ¸āĻŦāĻšā§‡ā§Ÿā§‡ āĻŦā§œ āĻ¸ā§āĻ¯ā§‹āĻ— āĻšā§Ÿ āĻ¯āĻ–āĻ¨ āĻ¤āĻŋāĻ¨āĻŋ ā§§ā§¯ā§­ā§¯ āĻ¸āĻžāĻ˛ā§‡ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻļāĻŋāĻ˛ā§āĻĒāĻ•āĻ˛āĻž āĻāĻ•āĻžāĻĄā§‡āĻŽāĻŋāĻ¤ā§‡ āĻāĻ•āĻŸāĻŋ āĻāĻ•āĻ• āĻŽā§āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿ āĻ•āĻ°ā§‡āĻ¨āĨ¤

The then French Ambassador in Bangladesh Mr. Loic Moreau, having observed his talent as an audience in that programme, offered him a scholarship at France.

āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡āĻ° āĻĢā§āĻ°āĻžāĻ¨ā§āĻ¸ā§‡āĻ° āĻ¤ā§ŽāĻ•āĻžāĻ˛ā§€āĻ¨ āĻ°āĻžāĻˇā§āĻŸā§āĻ°āĻĻā§‚āĻ¤ āĻŽāĻŋ. āĻ˛āĻ‡āĻ• āĻŽāĻ°āĻŋāĻ‰ āĻ¸ā§‡āĻ‡ āĻ…āĻ¨ā§āĻˇā§āĻ āĻžāĻ¨ā§‡āĻ° āĻāĻ•āĻœāĻ¨ āĻĻāĻ°ā§āĻļāĻ• āĻšāĻŋāĻ¸ā§‡āĻŦā§‡ āĻ¤āĻžāĻāĻ° āĻŽā§‡āĻ§āĻž āĻ…āĻŦāĻ˛ā§‹āĻ•āĻ¨ āĻ•āĻ°ā§‡ āĻ¤āĻžāĻāĻ•ā§‡ āĻĢā§āĻ°āĻžāĻ¨ā§āĻ¸ā§‡ āĻāĻ•āĻŸāĻŋ āĻŦā§ƒāĻ¤ā§āĻ¤āĻŋāĻ° āĻĒā§āĻ°āĻ¸ā§āĻ¤āĻžāĻŦ āĻĻā§‡āĻ¨āĨ¤

Partha took all opportunities to learn from Mr. Etinne Decroux and Mr. Marcel Marceau, both of whom were legendary genius of miming at that time in Paris.

āĻĒāĻžāĻ°ā§āĻĨ āĻĒā§āĻ¯āĻžāĻ°āĻŋāĻ¸ā§‡āĻ° āĻ¸ā§‡āĻ‡ āĻ¸āĻŽā§ŸāĻ•āĻžāĻ° āĻŽā§‚āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿā§‡āĻ° āĻĻā§āĻœāĻ¨ āĻĒā§āĻ°āĻ–ā§āĻ¯āĻžāĻ¤ āĻĒā§āĻ°āĻ¤āĻŋāĻ­āĻž āĻŽāĻŋ. āĻāĻŸāĻŋāĻ¨ āĻĄāĻŋāĻ•āĻ°ā§‹āĻ•ā§ āĻ¸ āĻ“ āĻŽāĻŋ. āĻŽāĻžāĻ°āĻ¸ā§‡āĻ˛ āĻŽāĻžāĻ°āĻ¸āĻŋāĻ‰āĻ° āĻ¨āĻŋāĻ•āĻŸ āĻĨā§‡āĻ•ā§‡ āĻļā§‡āĻ–āĻžāĻ° āĻ¸āĻŦ āĻ§āĻ°āĻ¨ā§‡āĻ° āĻ¸ā§āĻ¯ā§‹āĻ— āĻ—ā§āĻ°āĻšāĻŖ āĻ•āĻ°ā§‡āĻ¨āĨ¤

He was trained in the mime school called “Ecole International de Mimodrame de Paris Marcel Marceau”. Gradually he became a very artist performing in Europe and America and he was highlighted in media too.

āĻ¤āĻŋāĻ¨āĻŋ āĻ‡āĻ•ā§‹āĻ˛ā§ āĻ‡āĻ¨ā§āĻŸāĻžāĻ°āĻ¨ā§āĻ¯āĻžāĻļāĻ¨āĻžāĻ˛ā§ āĻĄāĻž āĻŽāĻŋāĻŽā§‹āĻĄā§āĻ°ā§‡āĻ‡āĻŽā§ āĻĄāĻž āĻĒā§āĻ¯āĻžāĻ°āĻŋāĻ¸ā§ āĻŽāĻžāĻ°āĻ¸ā§‡āĻ˛ā§ āĻŽāĻžāĻ°āĻ¸āĻŋāĻ‰ āĻ¨āĻžāĻŽāĻ• āĻŽā§‚āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿ āĻŦāĻŋāĻĻā§āĻ¯āĻžāĻ˛ā§Ÿā§‡ āĻĒā§āĻ°āĻļāĻŋāĻ•ā§āĻˇāĻŖāĻĒā§āĻ°āĻžāĻĒā§āĻ¤ āĻšāĻ¨āĨ¤ āĻ•ā§āĻ°āĻŽāĻļ āĻ¤āĻŋāĻ¨āĻŋ āĻ‡āĻ‰āĻ°ā§‹āĻĒ āĻ“ āĻ†āĻŽā§‡āĻ°āĻŋāĻ•āĻžāĻ° āĻ…āĻ­āĻŋāĻ¨ā§Ÿ āĻļāĻŋāĻ˛ā§āĻĒā§€ āĻšāĻŋāĻ¸ā§‡āĻŦā§‡ āĻŦā§‡āĻļ āĻŦā§āĻ¯āĻ¸ā§āĻ¤ āĻšā§Ÿā§‡ āĻĒā§œā§‡āĻ¨ āĻāĻŦāĻ‚ āĻ—āĻŖāĻŽāĻžāĻ§ā§āĻ¯āĻŽā§‡āĻ“ āĻ¤āĻžāĻ•ā§‡ āĻŦā§āĻ¯āĻžāĻĒāĻ•āĻ­āĻžāĻŦā§‡ āĻĒā§āĻ°āĻžāĻ§āĻžāĻ¨ā§āĻ¯ āĻĻā§‡āĻ“ā§ŸāĻž āĻšā§ŸāĨ¤

Later on this Bangladeshi legendary mime artist received “The Moliere award” in the year 2009 which is the highest honourable accolade in the French Theater. Next year, he was honoured with “Ekushey Padak” for contributing to Bangladesh.

āĻĒāĻ°āĻŦāĻ°ā§āĻ¤ā§€āĻ¤ā§‡ āĻāĻ‡ āĻĒā§āĻ°āĻ–ā§āĻ¯āĻžāĻ¤ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļāĻŋ āĻŽā§‚āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿ āĻļāĻŋāĻ˛ā§āĻĒā§€ ā§¨ā§Ļā§Ļā§¯ āĻ¸āĻžāĻ˛ā§‡ āĻĢāĻ°āĻžāĻ¸āĻŋ āĻĨāĻŋā§Ÿā§‡āĻŸāĻžāĻ°ā§‡āĻ° āĻ¸āĻŦāĻšā§‡ā§Ÿā§‡ āĻ¸āĻŽā§āĻŽāĻžāĻ¨āĻ¸ā§‚āĻšāĻ• āĻĒā§āĻ°āĻ¸ā§āĻ•āĻžāĻ° āĻĻā§āĻ¯āĻž āĻŽāĻ˛āĻŋā§ŸāĻžāĻ° āĻ†āĻ“ā§ŸāĻžāĻ°ā§āĻĄ āĻ˛āĻžāĻ­ āĻ•āĻ°ā§‡āĻ¨āĨ¤ āĻĒāĻ°āĻŦāĻ°ā§āĻ¤ā§€ āĻŦāĻ›āĻ°, āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŽā§‚āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿ āĻļāĻŋāĻ˛ā§āĻĒā§‡ āĻ…āĻŦāĻĻāĻžāĻ¨ āĻ°āĻžāĻ–āĻžāĻ° āĻœāĻ¨ā§āĻ¯ āĻ¤āĻžāĻāĻ•ā§‡ āĻāĻ•ā§āĻļā§‡ āĻĒāĻĻāĻ• āĻĻāĻŋā§Ÿā§‡ āĻ¸āĻŽā§āĻŽāĻžāĻ¨āĻŋāĻ¤ āĻ•āĻ°āĻž āĻšā§ŸāĨ¤

He was also awarded with Chevalier de I’odre des Art des Letters’ (Knight in the order of Arts and Humanities) in 2012 for his contribution all over the world.

āĻŦāĻŋāĻļā§āĻŦ āĻœā§ā§œā§‡ āĻ¤āĻžāĻāĻ° āĻ…āĻŦāĻĻāĻžāĻ¨ā§‡āĻ° āĻœāĻ¨ā§āĻ¯ ā§¨ā§Ļā§§ā§¨ āĻ¸āĻžāĻ˛ā§‡ āĻ¤āĻžāĻāĻ•ā§‡Â  Chevalier de I’odre des Art des Letters’ (Knight in the order of Arts and Humanities) –āĻ“ āĻĒā§āĻ°āĻĻāĻžāĻ¨ āĻ•āĻ°āĻž āĻšā§ŸāĨ¤

This great artist is now looking forward to opening an international miming institute in Bangladesh. We hope more Partha Pratim Majumder comes out from the dream institution.

āĻāĻ‡ āĻŽāĻšāĻžāĻ¨ āĻļāĻŋāĻ˛ā§āĻĒā§€ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļā§‡ āĻ†āĻ¨ā§āĻ¤āĻœāĻžāĻ°ā§āĻ¤āĻŋāĻ• āĻŽāĻžāĻ¨ā§‡āĻ° āĻāĻ•āĻŸāĻŋ āĻŽā§‚āĻ•āĻžāĻ­āĻŋāĻ¨ā§Ÿ āĻĒā§āĻ°āĻ¤āĻŋāĻˇā§āĻ āĻžāĻ¨ āĻ¸ā§āĻĨāĻžāĻĒāĻ¨ āĻ•āĻ°āĻžāĻ° āĻœāĻ¨ā§āĻ¯ āĻĒā§āĻ°āĻ¤ā§€āĻ•ā§āĻˇāĻž āĻ•āĻ°āĻ›ā§‡āĻ¨āĨ¤ āĻ†āĻ°ā§‹ āĻ…āĻ¨ā§‡āĻ• āĻĒāĻžāĻ°ā§āĻĨ āĻĒā§āĻ°āĻ¤āĻŋāĻŽ āĻŽāĻœā§āĻŽāĻĻāĻžāĻ° āĻāĻ‡ āĻ¸ā§āĻŦāĻĒā§āĻ¨ā§‡āĻ° āĻĒā§āĻ°āĻ¤āĻŋāĻˇā§āĻ āĻžāĻ¨ āĻĨā§‡āĻ•ā§‡ āĻŦā§‡āĻ°āĻŋā§Ÿā§‡ āĻ†āĻ¸āĻŦā§‡- āĻāĻŸāĻŋ āĻ†āĻŽāĻžāĻĻā§‡āĻ° āĻĒā§āĻ°āĻ¤ā§āĻ¯āĻžāĻļāĻžāĨ¤

English evsjv
Vocabulary

1.Across (prep)

2.Award (n)

3.Maestro (n)

4.Nutrition (n)

5.Evolve (v)

6.Civilization (n)

7.Creativity (n)

8.Touch (n)

āĻļāĻŦā§āĻĻ āĻ¸āĻŽāĻžāĻšāĻžāĻ°

1.āĻ“āĻĒāĻžāĻ°ā§‡

2.āĻĒā§āĻ°āĻ¸ā§āĻ•āĻžāĻ°

3.āĻ“āĻ¸ā§āĻ¤āĻžāĻĻ, āĻ—ā§āĻŖā§€

4.āĻĒā§āĻˇā§āĻŸāĻŋ

5.āĻŦāĻŋāĻ•āĻļāĻŋāĻ¤ āĻ•āĻ°āĻž āĻŦāĻž āĻšāĻ“ā§ŸāĻž

6.āĻ¸āĻ­ā§āĻ¯āĻ¤āĻž

7.āĻ¸ā§ƒāĻœāĻ¨āĻļā§€āĻ˛āĻ¤āĻž

8.āĻ¸ā§āĻĒāĻ°ā§āĻļ, āĻ›ā§‹āĻā§ŸāĻž

 

English evsjv
9. Gesture (n)

10. Movement (n)

11. Utterance (n)

12. Entertainment (n)

13. Represent (v)

14. Primitive (adj)

15. Mesmerize (v)

16. Presentation (n)

17. Era (n)

ā§¯. āĻ‡āĻļāĻžāĻ°āĻž/ āĻ‡āĻ™ā§āĻ—āĻŋāĻ¤, āĻ­āĻ™ā§āĻ—āĻŋ

ā§§ā§Ļ. āĻ—āĻ¤āĻŋāĻļā§€āĻ˛āĻ¤āĻž, āĻ—āĻ¤āĻŋāĻŽā§ŸāĻ¤āĻž

ā§§ā§§. āĻ‰āĻšā§āĻšāĻžāĻ°āĻŖ

ā§§ā§¨. āĻšāĻŋāĻ¤ā§āĻ¤āĻŦāĻŋāĻ¨ā§‹āĻĻāĻ¨

ā§§ā§Š. āĻ¤ā§āĻ˛ā§‡ āĻ§āĻ°āĻž

ā§§ā§Ē. āĻ†āĻĻāĻŋāĻŽ, āĻĒā§āĻ°āĻžāĻšā§€āĻ¨

ā§§ā§Ģ. āĻ¸āĻŽā§āĻŽā§‹āĻšāĻŋāĻ¤ āĻ•āĻ°āĻž, āĻŽāĻ¨ā§āĻ¤ā§āĻ°āĻŽā§āĻ—ā§āĻ§

ā§§ā§Ŧ. āĻ¤ā§āĻ˛ā§‡ āĻ§āĻ°āĻž

ā§§ā§­. āĻ¯ā§āĻ—

 

English evsjv
18. Reveal (v)

19. Trivial (adj)

20. Portrayal (n)

21. Delicate (adj)

22. Audience (n)

23. Conscience (n)

24. Issue (n)

25. Pioneer (n)

26. Nationalist (n)

ā§§ā§Ž. āĻĒā§āĻ°āĻ•āĻžāĻļ āĻ•āĻ°āĻž, āĻœāĻžāĻ¨āĻŋā§Ÿā§‡ āĻĻā§‡āĻ“ā§ŸāĻž

ā§§ā§¯. āĻŽāĻžāĻŽā§āĻ˛āĻŋ, āĻ¤ā§āĻšā§āĻ›, āĻ¨āĻ—āĻ¨ā§āĻ¯

ā§¨ā§Ļ. āĻšāĻŋāĻ¤ā§āĻ°āĻžā§ŸāĻŖ

ā§¨ā§§. āĻ¸ā§‚āĻ•ā§āĻˇā§āĻŽ

ā§¨ā§¨. āĻļā§āĻ°ā§‹āĻ¤āĻžāĻŽāĻ¨ā§āĻĄāĻ˛ā§€

ā§¨ā§Š. āĻŦāĻŋāĻŦā§‡āĻ•, āĻšā§‡āĻ¤āĻ¨āĻž

ā§¨ā§Ē. āĻŦāĻŋāĻˇā§Ÿ, āĻĒā§āĻ°āĻ¸āĻ™ā§āĻ—

ā§¨ā§Ģ. āĻĒāĻĨāĻŋāĻ•ā§ƒā§Ž, āĻ…āĻ—ā§āĻ°āĻĻā§‚āĻ¤

ā§¨ā§Ŧ. āĻœāĻžāĻ¤ā§€ā§ŸāĻ¤āĻžāĻŦāĻžāĻĻā§€

 

English evsjv
27. Attempt (n)

28. Rid (v)

29. Troubled (adj)

30. Legacy (n)

31. Honourific (adj)

32. Officials (n)

33. Radical (adj)

34. Leadership (n)

35. Oust (v)

ā§¨ā§­. āĻšā§‡āĻˇā§āĻŸāĻž/ āĻ‰āĻĻā§āĻ¯ā§‹āĻ—

ā§¨ā§Ž. āĻŽā§āĻ•ā§āĻ¤ āĻ•āĻ°āĻž

ā§¨ā§¯. āĻ…āĻ¸ā§āĻĨāĻŋāĻ°āĻ¤āĻžāĻĒā§‚āĻ°ā§āĻ¨/ āĻ—ā§‹āĻ˛āĻŽā§‡āĻ˛ā§‡

ā§Šā§Ļ. āĻ‰āĻ¤ā§āĻ¤āĻ°āĻžāĻ§āĻŋāĻ•āĻžāĻ°

ā§Šā§§. āĻ¸āĻŽā§āĻŽāĻžāĻ¨āĻ¸ā§‚āĻšāĻ•

ā§Šā§¨. āĻ•āĻ°ā§āĻŽāĻ•āĻ°ā§āĻ¤āĻžāĻŦā§ƒāĻ¨ā§āĻĻ

ā§Šā§Š. āĻ¸āĻ‚āĻ¸ā§āĻ•āĻžāĻ°āĻŦāĻžāĻĻā§€/ āĻĒā§āĻ°āĻ—āĻ¤āĻŋāĻļā§€āĻ˛

ā§Šā§Ē. āĻ¨ā§‡āĻ¤ā§ƒāĻ¤ā§āĻŦ

ā§Šā§Ģ. āĻŦāĻŋāĻ¤āĻžā§œāĻŋāĻ¤ āĻ•āĻ°āĻž

 

English evsjv
36. Command (n)

37. Subsequently (adv)

38. House arrest (Phrase)

39. Escape (v)

40. Wing (n)

41. Throughout (prep)

ā§Šā§Ŧ. āĻ•āĻ¤ā§ƒāĻ¤ā§āĻŦ/ āĻ¨āĻŋā§ŸāĻ¨ā§āĻ¤ā§āĻ°āĻŖ āĻ•ā§āĻˇāĻŽāĻ¤āĻž

ā§Šā§­. āĻĒāĻ°āĻŦāĻ°ā§āĻ¤ā§€āĻ¤ā§‡

ā§Šā§Ž. āĻ—ā§ƒāĻšāĻŦāĻ¨ā§āĻĻā§€

ā§Šā§¯. āĻĒāĻžāĻ˛āĻŋā§Ÿā§‡ āĻ¯āĻžāĻ“ā§ŸāĻž

ā§Ēā§Ļ. āĻļāĻžāĻ–āĻž

ā§Ēā§§. āĻ¸āĻžāĻ°āĻžāĻĻā§‡āĻļā§‡/ āĻĻā§‡āĻļāĻŦā§āĻ¯āĻžāĻĒā§€