Acclaimed actor and director Afzal Hossain—also a filmmaker, painter, and writer—has once again turned to memory and reflection, revisiting the people and moments that shaped his journey in theatre and beyond. Known for weaving society, culture, and the human psyche into his writing, this time he pays tribute to his fellow fighters, colleagues, and companions from a transformative era.
Taking to social media yesterday (April 15), he shared a photograph from 1971, writing, “This photograph is from 1971. The person seen in front is an exceptionally brave guerrilla commander. He is deeply respected by many across the country—for his role during the war and for his remarkable contributions to the nation’s social and cultural spheres over more than half a century since.”
He added, “Those who know him—both from afar and up close—believe that he is deeply socially aware, intelligent, and remarkably creative. At the end of the war, he felt that an even greater battle still remained. To help build the newly independent country into something beautiful, he dedicated himself tirelessly to nurturing the kind of hearts such a nation would need.”
Reflecting on his theatre journey, Afzal Hossain highlighted the founding vision of Dhaka Theatre. “To help shape the nation and life itself, he founded Dhaka Theatre,” he wrote. “His philosophy was that the depth and modernity of theatre would enlighten people. If individuals could cultivate that inner light, the quality of those people would, in turn, bring pride to the nation. Holding firmly to this belief, he devoted every breath of his life to theatre.”
He also revisited the spirit of the 1970s theatre movement. “In the mid-1970s, those of us who began doing theatre under different groups were all people who deeply loved the country and its culture,” he recalled. “Without caring for wealth, status, or influence—and without expecting any reward—we poured our hearts and souls into theatre and cultural practice.”
Remembering his contemporaries, he noted that their collective identity is best understood through their names and contributions. He mentioned figures such as Selim Al Deen, Raisul Islam Asad, Humayun Faridee, Shimul Yousuf, Jamil Ahmed, and Faruque Ahmed, among many others who helped shape the country’s cultural landscape over decades.
He concluded by acknowledging the leadership that bound them together: “Bringing everyone together, uniting all, stands Dhaka Theatre—and at its helm is Nasir Uddin Yousuff, whom we all know as Bacchu Bhai.”
The closing lines of his reflection carry a quiet resilience rooted in struggle and hope: “Human beings are born to dream and to fight. So what if I walk with a limp? No one’s dreams ever limp, and those who have fought for the country never truly die before death.”
