It is often the simplest of questions that cannot be answered simply. Such is the question “Who was Bamapada Mukhopadhyay?” When a person excels in a particular sphere of activity, it is easier to introduce him with reference to that sphere, but when a person becomes equally prominent in various fields, it becomes difficult to describe him. Tripura has known Bamapada Mukhopadhyay in so many areas that it is really difficult to introduce him in a conventional way. Tripura has known him as an eminent teacher of English literature; a venerable academic, a successful administrator; an accomplished personality; a very good friend; a social activist and above all – a dedicated theatre worker and artist. In the field of drama, he was a dramatist, a director, an actor and a drama-critic all of a very high order. It was always an experience to attend his classes, particularly on drama. No less rewarding was the experience of participating in a dramatic performance with him.

Till the seventies of the last century, teachers in the premier college of the state, Maharaja Bir Bikram College, Agartala, were all recruited in Delhi through the Union Public service Commission. The institution, in its teaching staff, presented a miniature version of India. Each department had Raos, Singhs, Panikkars, Kauls, Kumars, Kavirajs, Nairs and Mukhopadhyays in the staff. Bamapada Mukhopadhyay was one such. With the background of Lucknow University and the flavour of Avadh, he joined the English department. Teachers recruited on those days were mostly in their late-twenties and they were not mere book-worm pedants. Not a few of them had interest as well as proficiency in branches of performing arts. Being far away from homes and being of about the same age, they were not only professional colleagues, but also good friends. Ideas were shared and nurtured among the friends. Group of drama enthusiasts was formed who easily interacted with local like-minded people. Bamapada Mukhopadhyay was a natural leader in such missions. The dramatic movement of the state welcomed the new impetus.

Tradition of drama is more than hundred years old in Tripura. In absence of a professional theatre the condition favoured group theatres. Growth of group theatres in this remote part of the country drew its vitality from these new forces. In spirit and in quality, drama in Tripura kept pace with other more famous areas. Bamapada Mukhopadhyay, along with his friends, introduced fresh translations of European plays for the local stage. His easy access to Sanskrit and Urdu gave him a wider horizon to work upon. He also wrote original plays like En Passant on contemporary theme. He worked with ‘Rangam’ group, but was available for help to all whoever needed relating to drama and theatre. He believed in dramatic education necessary as the background of a theatre worker. He firmly believed that all theatre-workers are kinsas. They are related through their common point of interest. He took active part in organization of workshops and took part as resource person. His knowledge of advanced metropolitan stages and his personal acquaintance with eminent drama personalities all over the country enriched not only his personal knowledge but also helped the local theatre. He believed in actor’s training. In acting, he avoided ornate stylization and followed what we may call a natural style. His was a director’s theatre, but that of a democratic director. He shared his vision of the play with the artists and remained open to suggestions. In spite of his serious concern with drama, on stage he could create a rare atmosphere of freedom. His laurels in the field were numerous- both within and out of the stage.

He was an advisor to Tripura Theatre and much of his inspiration went behind founding the title of the journal. This memorial festival organized by Tripura Theatre is a humble tribute to Late Dr. Bamapada Mukhopadhya