Where will plays be performed if Shilpakala auditoriums remain ‘reserved’?

Shilpakala Academy’s sweeping control over two-thirds of the National Theatre Hall’s monthly slots is fuelling discontent among theatre workers who say it leaves little room for independent productions.

Even members of the Shilpakala Academy Executive Council are calling for more transparency in auditorium bookings, suggesting the term “reserved” begets a sense of “miscommunication.”

Dhaka’s theatre culture has long revolved around the academy, with more than 80 theatre groups utilising its three auditoriums for performances.

The Neelima Ibrahim Auditorium under Bangladesh Mohila Samity on Bailey Road also remains an important venue.

Denying the allegations of keeping the auditorium “reserved”, the Shilpakala Academy authorities say that they are booking auditoriums “per the policy”.

Secretary and Acting Director General of Shilpakala Academy Mohammad Wares Hossain says the reservation dates are also being assigned to theatre groups later and allegations that some theatre groups are not being able to book the auditorium are untrue.

“No such complaint has been brought to me,” he said.

Thandu Raihan, convener of the Dhaka Metropolitan Theatre Council, said: “I met the acting chief of Shilpakala and spoke about the capriciousness in the booking of the auditoriums. We have requested the auditorium booking for a week to hold a festival in the name of the Dhaka Metropolitan Theatre Council, yet could not do so.”

Similar grievances have come from leaders of at least five other theatre groups, citing repeated difficulties in getting slots and frequent disruptions in planned schedules.

In April, theatre troupe Tarua staged “All Quiet on the Western Front”, adapted from Erich Maria Remarque’s anti-war novel.

The production ran for four shows over three days, drawing a strong audience turnout.

Yet when the group applied to book an auditorium at Shilpakala for five days in late June to rerun the show, not a single day was granted.

The well-known troupe Desh Natak also failed to secure any bookings.

Aranyak Natyadal, one of the country’s most established theatre troupes with a 50-year legacy, had requested one day each at all three Shilpakala auditoriums.

In the end, they were granted just a single day --and only at the Studio Theatre.

“This is Aranyak, a theatre troupe with five decades of contributions. Yet we were given just one day in the Studio Theatre,” said Raihan, also a senior member of Aranyak Natyadal.

‘RESERVED’ ALLOCATIONS

The allocation list for three auditoriums of the National Theatre shows that in May, out of 93 days, the Shilpakala Academy “reserved” 54 days for itself.

Among them, the National Theatre auditorium was reserved for 20 days, the Studio Theatre Hall for 22 days, and the Experimental Theatre Hall for 12 days.

Some theatre artists criticised this in a Facebook group called “Theatre Songjog”, or Theatre Connection.

Theatre director and actor Mohammad Ali Haider shared the May allocation list on Facebook on Apr 22, questioning: “Why has Shilpakala reserved so many halls under its own name? Is there a shortage of theatre groups in the country?”

In June, the three auditoriums were again “reserved” by the academy from Jun 1 to 4, with Eid-ul-Azha holidays closing the venues from Jun 5 to 14.

Shahzada Somrat, a member of the theatre group Dhaka Theatre, told bdnews24.com: “Earlier, plays were staged at Shilpakala even during Eid holidays. Now, like other government offices, the auditoriums close on Fridays and Saturdays.

“But these venues are entertainment centres and should not follow weekly holidays on Friday and Saturday.”

After Eid, the auditoriums reopen on Jun 15. Yet the Studio Theatre was again marked “reserved” for Jun 15–19, 23–25, and 30.

Theatre troupes received bookings for just seven days in that hall this month.

In the Experimental Theatre, troupes received nine days. Meanwhile, the academy’s Theatre and Film Department booked seven days for post-Eid mime, puppet, and Jatra festivals.

Despite having a separate venue at the National Music and Dance Art Centre, the Shilpakala Academy reserved the National Theatre’s main hall for one day on World Music Day.

The main auditorium was also reserved for workshops on sound equipment, lighting, and safety.

Multiple members of the academy’s governing board say discussions are stalled due to “irregular” meetings.

Dhaka University Professor Samina Lutfa Nitra, a member of the governing board at Dhaka University, said: “Shilpakala can reserve auditoriums under its own name, but there must be proper explanations.

“Writing ‘reserved’ in the allocation list without clarifying the purpose is irresponsible.”

The last board meeting during Liakat Ali Lucky’s directorship was held on Sept 19, 2023; a new board formed in July convened last on Dec 18, 2024.

Azad Abul Kalam, another board member, told bdnews24.com: “After a new play is staged once, it often cannot get auditorium allocation for three to four months. This discourages further performances. It is very unfortunate.”

“Lately, Shilpakala is holding venues under ‘reserved’ status, which is highly non-transparent. The word itself feels suspicious,” he added.

Azad also questioned whether any clear policy governs hall allocations, noting many theatre artists remain unaware of who decides allocations and how decisions are made, underscoring the urgent need for transparency.

Apu Mehedi, executive editor of the theatre magazine Khepa and a member of Aranyak Natyadal’s editorial board, said venue allocation has been arbitrary for years. “Under the last government, a few people from the Group Theatre Federation decided who would get the halls, based on their own preferences.

“Now, a few Shilpakala officials are making these decisions, likely with influence from unseen powerful figures. Whoever is behind it, this arbitrariness must stop. There must be clear rules,” he added.

Mahfuz Sumon from the theatre group Anuswar said Shilpakala is turning into an “event organiser” itself.

“Instead of supporting theatre groups and cultural organisations, it’s hosting routine, superficial events like corporate organisers. Meanwhile, theatre troupes are struggling to stage performances due to lack of venue access. It’s disappointing.”

ALLOCATION PROCESS

According to the policy for allocating venues at the National Theatre Hall, the facility was established to encourage, develop, and promote theatrical practice by creating an appropriate space for such activities.

It aims to ensure material support for theatre practitioners by constructing proper theatre venues.

The theatre comprises three auditoriums - the Main Auditorium, the Experimental Theatre Hall, and the Studio Theatre Hall.

In addition, there are seminar and training rooms, each governed by separate allocation policies.

Allocation requires submitting applications through designated forms.

Rental fees are as follows: the Main Hall charges Tk 5,000 for drama performances and Tk 20,000 for other cultural events; the Experimental Theatre Hall charges Tk 3,000; the Studio Theatre Hall charges Tk 2,000 for drama and Tk 5,000 for other cultural events.

The 750-seat Main Auditorium is primarily reserved for staging plays. For state or government programmes, the hall receives priority allocation.

Events organised by the academy itself--such as theatre festivals, recitation programmes and other theatre-related events--are given the highest priority.

If the academy cannot utilise its scheduled days, other theatre-related organisations may rent the space.

Allocations may be cancelled if urgent Academy or cultural affairs ministry events arise.

The 350-seat Experimental Theatre Hall is used for theatrical performances, training, workshops, musical dramas, dance dramas, mime, radio plays, recitations, and related events.

Typically, the Shilpakala Academy can use this hall for seven days each month; in May, it was allocated for eleven days for the academy’s own events.

The remaining days of the month are open for theatre troupes, though the academy's productions, festivals, and other theatre-related events receive the highest priority.

If the academy does not utilise its seven reserved days, those dates may be allocated to other troupes or programmes.

The director general of the academy holds the authority to grant allocations on a priority basis.

The 225-seat Studio hosts small-scale, experimental, and folk productions. When vacant, it is used for technical rehearsals.

Allocation is approved by the academy’s director general, who can delegate the authority.

As per policy, the Studio Theatre Hall is reserved for the academy’s own use for seven days each month.

But, in May, the academy used it for 21 days.

Although holidays at the Theatre Hall follow separate regulations as a cultural centre, all three auditoriums were closed for 10 days in June in alignment with the Eid holidays.

Beyond this, 11 more days have been reserved in the name of academy events.

In June, the Studio Theatre Hall was reserved for 13 days by the academy, in addition to the 10-day Eid break, leaving only seven days for theatre troupes.

The Main Auditorium has been reserved by the academy for eight days, and with the Eid closure, theatre troupes will have access for 12 days only.

Theatre director Azad believes many theatre practitioners are not “aware” of the auditorium allocation policy.

A founding member of Prachyanat, Azad said: “Many theatre workers don’t even know how this policy was formulated.

“There’s a kind of hide-and-seek involved in the allocation process, and that raises concerns of a hidden agenda.”

He added, “The National Theatre Hall exists for theatre--so why are troupes struggling to get space to perform? The academy must hold discussions with theatre workers on this policy.

“If necessary, it should be revised.”

Azad criticises the allocation process, pointing out that theatre groups often feel pressured to plead with Shilpakala Academy for venue access--a system that seems to “rely more on discretion than fairness”.

He stresses that this mindset needs to change.

In response to frequent allegations of allocations favouring the academy, Secretary Mohammad Wares Hossain said: “Allocations are made according to the policy. I have not received any complaints from theatre groups.”

THEATRE ACTIVISTS LAMENT LOSSES

Compared with three decades ago, Dhaka’s population and size have grown-- but “not a single new theatre venue has been added”.

Bailey Road was once fondly known as Natok Para--Dhaka’s theatre district.

In the 1990s, it had two active stages: the Guide House auditorium, which no longer exists, and the Neelima Ibrahim Auditorium of the Mahila Samiti, which is still in use.

The once-vibrant theatre hub has largely shifted to Segunbagicha, around the auditoriums of the Shilpakala Academy.

Following the bifurcation of Dhaka into two city corporations, both the Mahila Samiti and the Shilpakala Academy have fallen under Dhaka South.

Dhaka North, which includes sprawling areas like Mirpur, Uttara, Bashundhara, and Banani, lacks a single regular performance venue for theatre.

At a budget review seminar organised by the Theatre Artists Association of Dhaka (TAAD) on Apr 18, veteran theatre activist Mamunur Rashid said: “There isn’t a single hall for theatre in major residential zones like Mirpur, Uttara, Bashundhara, or Banani.

“Not even proper bookstores or cinemas. Yet, thousands of restaurants flood the stretch from Dhanmondi to Gulshan.

“This reveals a mindset where eating out has become the main form of entertainment,” he added. “It leaves little room for developing intellectual or cultural depth.

“Our wealth is growing, but our cultural and intellectual depth is shrinking.”

In the final days of the ousted Awami League government, an open-air stage was built at Uttara Sector 3, and although the Metropolitan Theatre Hall was constructed in Gulistan with much fanfare, it is largely unused due to a “lack of suitable conditions” for performances.

Mirpur’s social and cultural life once thrived around the Town Hall beside the Mirpur 10 roundabout, where community organisations regularly hosted events.

But in 2003, the building was declared structurally unsafe and subsequently demolished.

In the 19 years since, it has not been rebuilt.

Cultural activists in Mirpur have even staged protests demanding its restoration.

[Writing in English by Syed Mahmud Onindo and Sheikh Fariha Bristy]