Natir Puja is a dramatic adaptation of Rabindranath Tagore’s epic poem Pujarini, itself inspired by a Buddhist legend from the sacred Pali text Avadhan Shatak.
The narrative centres on Srimati, a royal dancer (Nati) and a devout Buddhist serving in the royal household. When the King forbids all forms of worship except those sanctioned by royal convention, Srimati defies the decree to continue her devotion to the Buddha. Despite warnings from the Queen and others at court, she persists.
At dusk, Srimati places her offerings at the Buddhist stupa near the palace and lights the ceremonial lamps. She is intercepted and killed by the royal guards. Yet her act of surrender and devotion, her puja, transcends death and is eternally revered by the people.
Writer
Rabindranath Tagore was a visionary who liberated Indian theatre from the rigid constraints of European realism and traditional melodrama. As a revolutionary dramatist, he introduced “symbolic plays” to the East, moving away from elaborate sets to focus on the inner psychological landscape of his characters.
Tagore’s plays were often acts of social and political defiance. He replaced heavy dialogue with rhythmic prose and integrated music as a narrative tool rather than a mere interlude.
As a director, Tagore was equally transformative.
He pioneered the use of suggestive backdrops over literal scenery, believing the audience’s imagination was the best stage. He blended poetry, song, and stylized movement, eventually creating the Nritya-natya (dance-drama) genre.
At Santiniketan, he broke social taboos by encouraging women from respectable families to perform on stage—a radical move in early 20th-century India.
Tagore didn’t just write plays; he directed them as living philosophy, treating the stage as a space for spiritual and social liberation.
Director
Dr. Amartya Mukhopadhyay is a distinguished Assistant Professor of Drama at Sangit Bhavana, Visva-Bharati, and a preeminent specialist in Tagorean performance. Dr. Mukhopadhyay was brought up in the Santiniketan Ashram, absorbing the aesthetic and spiritual essence of Tagore’s vision from childhood. This lifelong immersion has made him a multi-talented practitioner, seamlessly blending the roles of scholar, director, and performer.
As a Tagore specialist, Dr. Mukhopadhyay has authored several authoritative books that explore the evolution of Rabindranatak. His expertise extends beyond the classroom; he is a regular practitioner of Tagore’s drama and dance drama, known for his ability to translate complex philosophical texts into vibrant stage realities.
In a historic tribute, Dr. Mukhopadhyay is directing the centenary production of Natir Puja. Marking 100 years since its 1926 debut, he is staging the play at the exact original location where it was first performed. By returning to this hallowed ground, Dr. Mukhopadhyay bridges a century of heritage, revitalizing the Ashram’s cultural legacy for a new generation. His work remains a vital link between the traditional “Ashramic” style and contemporary theatrical excellence.
Director’s Note
The play is a meditation on prayer, peace, and purity. It carries a musical melancholy and a sense of quiet pain, ultimately leading to a profound inner fulfilment.
Group
An artist, whether dancer, actor, or aesthetic representative, constantly prepares the self through discipline, dedication, and devotion. Artistic expression cannot be confined or restrained. In Natir Puja, desire and devotion culminate in self-sacrifice, revealing an eternal truth that transcends time and form.
The Actors are the students of Sangit Bhavana, Visva-Bharati. All are the students of the Performing Arts in Undergraduate and Post-graduation.