Testimonials
I have seen Dyuti Ghosh Halder’s performances for ten years now, and always been impressed by her dedication and versatility in a wide range of characters, styles and backstage responsibilities.
In the Tagore collage Nānā Range Rabi, real magic occurred in the major multitasking among the dancers led by Dyuti, all of whom simultaneously sang – a most arduous task – in the poems Sāmānya Kshati and Harikhelā, using Kathakata storytelling styles and experimenting with hybrid choreography from Kathak to Western, taking Tagore’s own syncretic methods further.
In Tagore’s Lakshmir Parikshā, whose pioneering significance as a farce composed exclusively for women even Tagoreans tend to forget, Dyuti performed comically both main parts of Rani Kalyani and goddess Lakshmi very well.
In the Bengali translation of Shakespeare’s Othello, she gave Desdemona her vulnerability and also designed tasteful costumes.
In the invigorating Maimansingha Gitikā, a folk Palagan from East Bengal, Dyuti stood out as the spirited heroine, Mahuya. And in Mātir Gāri, translated from the Sanskrit Mrichchhakatika, she not only enacted Vasantasena with graceful finesse but also danced classically and designed décor and historical costumes.
In the Tagore collage Nānā Range Rabi, real magic occurred in the major multitasking among the dancers led by Dyuti, all of whom simultaneously sang – a most arduous task – in the poems Sāmānya Kshati and Harikhelā, using Kathakata storytelling styles and experimenting with hybrid choreography from Kathak to Western, taking Tagore’s own syncretic methods further.
In Tagore’s Lakshmir Parikshā, whose pioneering significance as a farce composed exclusively for women even Tagoreans tend to forget, Dyuti performed comically both main parts of Rani Kalyani and goddess Lakshmi very well.
In the Bengali translation of Shakespeare’s Othello, she gave Desdemona her vulnerability and also designed tasteful costumes.
In the invigorating Maimansingha Gitikā, a folk Palagan from East Bengal, Dyuti stood out as the spirited heroine, Mahuya. And in Mātir Gāri, translated from the Sanskrit Mrichchhakatika, she not only enacted Vasantasena with graceful finesse but also danced classically and designed décor and historical costumes.
Prof. Ananda Lal
kolkatatheatre.com
Dyuti Ghosh Halder is one of my most favourite actresses of recent times. She has acted with me in the theatre “Ekush gram” produced by “Naihati Bratya Jan”. Apart from that I have witnessed her acting skills in the productions of her own theatre group “Naye Natua”. What have mesmerised me most is her dedication , passion and above all her flawless acting skills. Since “Ekush gram” was the theatrical adaptation of the famous movie “21 grams” by Alexandro Gonzales Inarittu and the character played by Dyuti on stage had been played by the famous actress Charlotte Gainsbourg in the main movie , it was primarily a difficult task for Dyuti. However Dyuti successfully pulled off the complex task in an almost effortless manner. Apart from these I have also seen Dyuti executing many complex characters on stage in a fluent and spontaneous fashion. Plenty of congratulations to her. Dyuti Ghosh Halder is also the suitable better half of one of the best actor – director of current Bengali theatre. As far as my knowledge goes, Dyuti also juggles various responsibilities of their own theatre group. As a result, her work, social presence, her dignified ability to deal with uninvited problems and jealousy, theatrical responsibility has a humble demeanor. I wish that Bengali theatre sees this spark in the coming days. May our lives , society and field of art be Covid-free…may all “Dyuti”s shine brighter on theatre stages, this is the sole wish in today’s Corona situation
Bratya Basu
Actor, Theatre Director, Ministry of Education Department, West Bengal Government