Ekushey Padak-winning theatre stalwart Ramendu Majumdar turns 86 today. He is the founding secretary of the renowned theatre troupe Theatre, and has been editor of the Theatre magazine for more than five decades. He also served as President of the International Theatre Institute (ITI).
As a cultural icon, his contribution to stage theatre has been immense. Even at the age of 86, he continues to perform on stage in the productions “Love Letters” and “Meraj Fakirer Ma”. His wife is the celebrated actress Ferdousi Mazumder, and their only daughter is Tropa Majumdar.
Sitting down with The Daily Star at his residence, he reflected on his glorious journey in his career, life and more.
Happy Birthday! If you are told to look back, how beautiful has life been?
As life gradually draws to a close, you realise just how beautiful it truly is. You begin to wonder why you could not have embraced it even more. Even so, I have no regrets. I often say that I have travelled in a bullock cart and travelled by aeroplane as well. In one lifetime, I have journeyed a long way. I consider myself fortunate.
There is a song that goes, “Ami Akriti Odhom Boleo To Kichhu Kom Kore Morey Dao Ni” (which loosely translates to, “Though I am unworthy and insignificant, you have never given me any less”).
That sentiment resonates deeply with me. I may have unfulfilled aspirations when it comes to my art, but I have none when it comes to life.
You mentioned having unfulfilled aspirations in your artistic journey. Could you elaborate?
I have no regrets about life, but I do have them about my work. I still feel I have not been able to create a truly great play. I have also been struggling to establish a permanent home for the Theatre School. We have neither a permanent space nor a rehearsal venue. There have been many setbacks.
When I look at Bishwa Sahitya Kendra, I see that Abdullah Abu Sayeed has built a permanent institution. We have not. I do, however, believe an artiste's sense of incompleteness never goes away.
What inspired you to pursue a career in the arts?
It began in my childhood. I grew up in that environment. My father, elder brother and my younger sister—all of them acted. So, it felt like the most natural path for me.
I became involved in theatre while studying at the University of Dhaka. Over time, I realised theatre allowed me to express everything I wanted to say as an artiste. That is why I chose theatre and the arts.
What do you consider Theatre's greatest achievement over the past five decades?
We have always tried to stage plays rooted in real life, and I believe we have succeeded. Our productions have reflected contemporary issues.
Having Abdullah Al Mamun as our playwright was a great strength. He understood the troupe's vision. The Liberation War, youth, and women's empowerment were recurring themes. We have always believed theatre should offer more than entertainment—it should have a message.
Since his passing, producing contemporary plays has become more difficult, though we continue to try.
Another achievement is building a wider audience for theatre and helping establish it as a cultural force.
We have also published Theatre magazine for 54 years, and I have edited it throughout. That, too, is a significant achievement.
How does Bangladesh's theatre compare with Kolkata's?
It is difficult to compare them. Kolkata has a longer theatre tradition. Theatre in East Bengal also flourished, but declined after Partition. During the Pakistan era, it received little support.
Kolkata has more playwrights, while we have many talented actors. Their actors often show greater vocal nuance; ours bring more spontaneity.
Much of our theatre explores life and society, which is not always the focus there. Both traditions have evolved in their own way.
We share the same language and culture, and that allows for valuable exchange. We have performed there, and they have performed here. Such cultural exchange is essential—it helps reduce barriers between the two countries.
Veteran theatre personality Ataur Rahman passed away last May. Would you like to say a few words about him?
He is gone, as are many of our contemporaries. Ataur Rahman and I shared a long association and many memories. Whenever we travelled abroad together, he was wonderful company and had a remarkable sense of humour.
He was an outstanding director, known for his brilliant productions. He did extensive work on Rabindranath Tagore and was an avid reader. He contributed immensely to theatre. Above all, I believe, he was a complete human being.
A teacher's social media video recently sparked controversy. How do you view the incident?
People often treat social media as a space without limits. Character assassination has become disturbingly common.
I do not see what was wrong with the teacher's video. She did nothing objectionable, and many eventually stood by her.
What troubles me more is the humiliation teachers have faced in recent years. I was deeply affected by the case of a teacher in Netrokona whose motorcycle was set on fire. After finally getting a job, he said he could not afford another one. Our organisation later bought him a motorcycle.
How important are art and culture to a nation?
No nation, especially the Bengali nation, can move forward without communal harmony. Art and culture are essential to nurturing that spirit. Children should be introduced to them from an early age, both at home and in school.
The government must also encourage this, so that young people grow up with an appreciation for art, literature and communal harmony.
What genuinely brings you joy?
Other people's success brings me joy. I enjoy reading stories of achievement in the newspapers.
For 12 or 13 years, I hosted a programme on Bangladesh Television featuring ordinary people. I interviewed around 400 individuals who had quietly devoted themselves to improving society. They did not seek fame—they simply wanted to do good.
One of them was a rickshaw puller who went on to build a hospital. Sharing stories like these brings me immense joy.
Why have you been less active on television over the course of your career?
I acted in “Ektala Dotala”, one of Bangladesh Television's first dramas. I also read the news for many years. At the time, newsreaders were not encouraged to act, so I did fewer television dramas. I was also more involved in organisational work.
I still perform in “Meraj Fakirer Ma” and “Love Letters”. Both give me great satisfaction. “Love Letters” is directed by my daughter, Tropa Majumdar.
What role has Ferdousi Mazumder played in your life and career?
I could not have done what I have without her. She looked after our home and our daughter's upbringing, allowing me to devote myself to my work.
We have shared the same artistic journey, and our daughter, Tropa, has followed it too. She is deeply committed to theatre. I feel our lives have been fulfilled.
