A Biography of Abdullah Al Mamun

Introduction

Art always begins with a story, and a story needs that courageous voice that can tell it. Abdullah Al Mamun was that voice for Bangladesh — a talented artist who captured the consciousness of a proud nation through simple and insightful creations. He was born on 13 July 1942 in Jamalpur. He was a playwright, filmmaker, actor, television director, and novelist. His work served as a mirror to society, especially in his unparalleled portrayal of the complexities, dreams, and frustrations of the middle class.

Mamun was not just an artist of the page; he was a pioneer — one who wove art and activism into a single thread. His emotional and realistic narratives captivated audiences. Whether it was the stage performances of his theatre troupe, film screenings, or television dramas that became household favourites — all his creations had the power to entertain, educate, and inspire. His body of work is an impressive testament to the enduring impact of art, resonating with the heartbeat of Bangladesh.

In this 28-chapter biography, we will discuss his childhood, education, career, contributions to theatre and cinema, awards, personal life, death, legacy, and unknown facts.

At a Glance: Life of Abdullah Al Mamun

Information	Details	Special Note
Full Name	Abdullah Al Mamun	English spelling: Abdullah Al Mamun
Profession	Playwright, filmmaker, novelist, television director, actor	Simultaneously a creator and performer
Birth	13 July 1942, Jamalpur, Bengal Presidency (present-day Bangladesh)	Grew up against the backdrop of British India
Death	21 August 2008, Dhaka, Bangladesh	Died under treatment for heart disease and complications
Father	Professor Abdul Quddus	Educationist, was headmaster of a school in Jamalpur
Mother	Fatema Khatun	Homemaker, encouraged children’s education
Wife & Children	Not widely documented	Preferred to maintain personal privacy
Education	Bachelor’s and Master’s (History), Dhaka University (1964)	Earned higher degrees in History
Notable Mentors	Theatre guru Nurul Momen, Munier Chowdhury	Guides in dramatic technique
First Play	Niyotir Porihash (1950, age 8)	Early sign of talent
Founded Theatre Troupe	Theatre (1972)	Brought revolutionary change to Bangladesh’s stage drama
Number of Plays Written	Over 25 (stage & television)	Notable: Ekhono Krittodas, Meraz Fakirer Ma, Amader Sontanera
Film Direction	First film ‘Angikar’ (1972)	National Award-winning: Soronbou, Ekgherai, Dui Jibon, Ekhoni Somoy
National Film Awards	2 (Best Director)	‘Ekhoni Somoy’ (1980), ‘Dui Jibon’ (1988)
TV Serials	Sangeetsaptak (1989), Joar Bhata (1985)	Among the pioneers of serial dramas on Bangladesh Television
Books	7 novels and travelogues	‘Manhattan’ (travelogue), ‘Amar Ami’ (autobiographical)
Notable Acting	Special roles in TV dramas and films	Particularly beloved in ‘Shrabon Megher Din’
Highest Honours	Ekushey Padak (2000), Bangla Academy Literary Award (1978), Tarakalok Padak, BTV Award	Achievements in literature, drama, and film
Translations & Adaptations	Staged Tagore’s ‘Ghare Baire’, Marlowe’s ‘Doctor Faustus’	Made international classics accessible to Bengali audiences
Pioneering Work	‘Payer Awaz Pawa Jae’ (1976) – first original verse drama of independent Bangladesh	Initiated the verse drama genre
Professional Life	Worked at Pakistan Television and Bangladesh Television; retired as Director in 1991	Associated with television for over 25 years
Religion	Islam	Believed in religious values
Cause of Death	Cardiac complications, diabetes, liver and kidney problems, multiple ailments	Breathed his last while undergoing treatment
Legacy	His plays, films, and TV dramas are still staged and broadcast	Inspires new generations of creators
Unknown Facts	Wrote first play at age eight; read all of George Bernard Shaw’s books; translated Doctor Faustus	Numerous humorous and inspiring anecdotes

The table provides a comprehensive and detailed picture of Abdullah Al Mamun’s life and achievements.

Early Life and Family Background (1942-1955)

Abdullah Al Mamun was born on 13 July 1942 in Jamalpur town, then part of Bengal Presidency (present-day Bangladesh). His father, Professor Abdul Quddus, was an educationist and school headmaster. His mother, Fatema Khatun, was a homemaker. He was affectionately called ‘Mamun’ by the family. From childhood, he was extraordinarily intelligent and imaginative.

His childhood was spent in the libraries and schoolyards of Jamalpur town. Thanks to his father’s job, he grew up in the light of education. The environment of Jamalpur was that of a quiet small town, but there he had the opportunity to read storybooks from the library. His father Abdul Quddus had a vast collection of books on Bengali and English literature. Mamun started reading those books from a very young age.

At just eight years old, he wrote his first play, ‘Niyotir Porihash’ (Irony of Fate). Though it was a childish piece, it contained the seed of his future creativity. He would write the play in his notebook and recite it to the neighbourhood boys. Although that manuscript was later lost, the incident proves that he was a born storyteller.

His father Abdul Quddus was strict about the children’s education. He encouraged Mamun to read literature and drama. Literary practice was regular in Mamun’s home, and books by local and foreign writers would arrive. The environment of Jamalpur and the family background deeply influenced his mental development.

His primary and secondary education began at a school in Jamalpur town. He was a very bright student. His teachers also noticed his talent. His command of Bengali and English literature was extraordinary. He would participate in school drama competitions and often win prizes.

One day, his meeting with theatre guru Nurul Momen became a turning point in his life. Momen asked him, “Have you read George Bernard Shaw?” Mamun hadn’t. Momen told him to read that author. From then on, Mamun read all of Shaw’s plays and became deeply acquainted with Western dramatic techniques. This laid the foundation for his theatrical practice.

After completing primary and secondary education in Jamalpur, he moved to Dhaka for higher education. His father’s dream was that his son would grow up to serve the country.

Education (1955-1964)

After passing secondary school from a local institution in Jamalpur, Abdullah Al Mamun enrolled at Dhaka College. Here, alongside his studies, he became interested in drama. He started acting in small plays on the college stage. He was an active member of the college literary society. During this time, he came into contact with Dhaka’s cultural circles.

While studying at Dhaka College, he gained the mentorship of Munier Chowdhury. Munier Chowdhury was a renowned playwright, educationist, and bearer of the spirit of the Liberation War. He imparted deeper knowledge of dramatic art to Mamun and encouraged him in direction. Through Munier Chowdhury, Mamun stepped into professional theatrical practice.

Though attentive to his studies, Mamun’s primary interest was literature and drama. At Dhaka College, he studied History. History helped him understand the dynamics of society and people, which later became the subject matter of his plays. During college, he was also involved with Dhaka University’s drama society.

After passing higher secondary from Dhaka College, he enrolled in the History department at Dhaka University. In 1964, he earned his Bachelor’s and Master’s degrees. While pursuing his university studies, he continued his theatrical practice regularly. During this time, he was involved with various theatre groups including ‘Dhaka Theatre’ and ‘Nattyachakra’.

During his time at Dhaka University, he came into contact with the country’s top intellectuals, including poet Shamsur Rahman, Shahidullah Kaiser, and Syed Shamsul Haq. These intellectuals helped shape his worldview.

His research topic in the History department was the social system and literature of medieval Bengal. After completing his Master’s, instead of teaching, he decided to work in television, believing that the mass media would allow him to reach more people.

During this time, under the guidance of Nurul Momen and Munier Chowdhury, he wrote several more plays after ‘Niyotir Porihash’. Though they did not receive wide acclaim, they enriched his repertoire.

Beginning of Professional Career in Television (1964-1991)

After completing his Master’s in 1964, Abdullah Al Mamun joined Pakistan Television (PTV). At that time, television had just begun its journey in East Pakistan. He started working as a producer and director. During this time, he created small dramas and programs that gained popularity.

While working at the PTV studio, he gained expertise in producing live broadcasts and programs. He would write his own scripts and direct them as well. During this time, he also wrote plays for the stage. By the late 1960s, his play ‘Ekhono Krittodas’ (Still a Slave) had already created a stir on stage.

During the Liberation War in 1971, Mamun actively participated. He went to Kolkata and engaged in cultural activities in support of Bangladesh’s liberation war. He assisted in producing dramas and programs for Kolkata Betar and television. After independence, he returned to the country.

In 1972, Bangladesh Television (BTV) started its journey anew. Mamun continued to work as one of BTV’s leading producers. He played a pioneering role in producing television serials. In the 1970s, BTV broadcast single-episode dramas like ‘Tar Sansar’ (His Family) and ‘Matir Maya’ (The Allure of Soil) which became popular.

In 1985, the serial ‘Joar Bhata’ (Tide and Ebb) gained immense popularity. It was the story of a family depicting the dialectic between village and town. The serial created such a sensation that audiences would eagerly await the next episode. Then in 1989, the serial ‘Sangeetsaptak’ (The Seven Notes of Music) became a milestone in television history. ‘Sangeetsaptak’ was a collection of seven distinct stories, each set in a different character and different background.

Throughout his career, he consistently created dramas and programs. Finally, in 1991, he retired from BTV as a Director. In recognition of his work in television, he received the ‘BTV Award’ and the ‘Tarakalok Padak’. He is considered one of the most successful and influential producers in BTV’s history.

Establishment of Theatre Troupe ‘Theatre’ and Renaissance in Stage Drama (1972)

The year 1972. A newly independent country. Mamun felt the need for a strong theatre organization. Though several theatre groups were active in Dhaka, Mamun wanted an organization that would regularly stage original plays, not just classical adaptations. Along with several young artists and intellectuals, he formed the theatre troupe ‘Theatre’.

The first production of ‘Theatre’, ‘Ekhono Krittodas’ (Still a Slave) in 1972, garnered widespread acclaim. The play depicted the exploitation and resistance of people at the bottom of society. Mamun himself produced and directed the play. It featured then-young actors, many of whom later gained national fame. The play’s dialogue and characterization were so powerful that audiences were overwhelmed.

After that, ‘Theatre’ continued to stage plays regularly. Mamun wrote and directed over 25 stage plays. Notable plays include:

• Ekhono Krittodas (1972) — The story of exploited people’s resistance.
• Meraj Fakirer Ma (1975) — Blind adherence to religious rituals and the pitiful life of a fakir’s mother.
• Amader Sontanera (1975) — The failure of the education system and the crisis of the younger generation.
• Payer Awaz Pawa Jae (1976) — The first original verse drama of independent Bangladesh, depicting the dialectic of individual conscience and social responsibility.
• Diyal Tor Kanta Diye (1980) — Love, separation, and rural reality.

The main theme of Mamun’s plays was the dialectic of the middle class, poverty, liberation, and injustice. He never spoke down to the audience but conveyed deep messages through simple stories. The dialogue in his plays was natural and life-like.

Through regular performances and workshops of the ‘Theatre’ troupe, he created new theatre workers. To this day, ‘Theatre’ carries Mamun’s name and continues its work. The troupe is a bright chapter in the history of Bangladesh’s theatre movement.

The journey of ‘Theatre’ was not limited to the capital city of Dhaka. They also staged plays in district towns and conducted theatre workshops. Through this, Mamun was able to spread theatrical practice throughout the country.

Pioneer of Verse Drama (1976)

In 1976, Abdullah Al Mamun wrote and directed ‘Payer Awaz Pawa Jae’ (The Sound of the Footstep is Heard). This was the first original verse drama of independent Bangladesh. The language of the play was prose-mixed poetry, which resonated in the hearts of the audience. The play depicts the dialectic of an individual’s conscience — he hears the sound of footsteps but cannot find them. The play raises questions about the post-Liberation War moral crisis and individual existence.

The central character of the play is an intellectual who questions the ideals of the Liberation War. He realizes that freedom means not just political liberation; it also demands social and economic emancipation. ‘Payer Awaz’ is the call for that liberation.

The production created a sensation as soon as it was staged. It was particularly praised in the context of 21st February. The play featured renowned artists. Mamun proved that verse drama could also be successful on the Bengali stage. Subsequently, the play was staged in various districts of Bangladesh and even abroad (India, United Kingdom).

The success of this play encouraged Mamun to do more courageous and experimental work. He popularized the genre of verse drama and inspired later playwrights. ‘Payer Awaz Pawa Jae’ remains an immortal creation in Bangladesh’s theatre repertoire.

The title of the play has become proverbial. Whenever a movement for rights begins, activists remember this name.

Staging Tagore’s ‘Ghare Baire’ and Christopher Marlowe’s ‘Doctor Faustus’ — Indigenizing International Classics

Abdullah Al Mamun was interested in presenting world literature to Bengali audiences through translation. He created a stage adaptation of Rabindranath Tagore’s novel ‘Ghare Baire’ (The Home and the World). The play gave theatrical form to Tagore’s complex philosophy. He condensed the novel’s story and made it audience-friendly while preserving the essence of the main characters Nikhilesh, Sandhya, and the aspiration for revolution.

While staging ‘Ghare Baire’, he used Rabindra Sangeet and highlighted the backdrop of the anti-British movement. This helped audiences rediscover Tagore.

His most courageous work was the Bengali translation and staging of Christopher Marlowe’s famous play ‘The Tragical History of Doctor Faustus’. The story of ‘Doctor Faustus’ — making a pact with the devil for knowledge and power — deeply moved him. He translated the play and also directed it. The translation was so beautiful that Dhaka University professors praised it.

While translating, he converted Marlowe’s Elizabethan English into simple Bengali while maintaining poetic beauty. When ‘Doctor Faustus’ was staged, audiences witnessed a new type of dramatic technique. It opened a new horizon for Bangladeshi audiences.

Through this translation and adaptation, Mamun brought world literature to the Bengali stage and proved that international classics could appeal to Bengali audiences.

Journey in Cinema (1972-1991)

In 1972, Abdullah Al Mamun directed his first film, ‘Angikar’ (Promise). It was a courageous initiative just after independence. Though the film did not achieve great success, Mamun did not stop. In it, he attempted to blend international filmmaking techniques with local subject matter.

In 1978, the film ‘Soronbou’ was released. It created a sensation. The film’s story centred on the life of a woman on a fishing boat. Mamun skillfully portrayed the reality of marginalized people. This film won a National Award.

In 1980, ‘Ekhoni Somoy’ (Now is the Time) was released. The film’s story — the protest of the younger generation against social inertia. It shows how a young man stands against blind superstition and feudal mentality. For this film, he received his first National Film Award (Best Director).

In 1984, he made the film ‘Ekgherai’ (Outcast). It is the story of a peasant family facing various social injustices and the crisis of losing their homestead. The film was highly acclaimed and termed a ‘classic’ by critics.

In 1988, ‘Dui Jibon’ (Two Lives) depicted the conflict between two generations — the ideological gap between father and son, the dialectic of love and duty. This earned him his second National Film Award.

He made more films: ‘Sontan Jokhon Sontan Noy’ (When Children Are Not Children), ‘Babar Sansar’ (Father’s Family), ‘Matir Dabi’ (Claim of the Soil), etc. But the notable films are recognized as his achievements. His films never achieved commercial success but were identified as ‘quality films’ among critics and audiences. He never followed commercial film formulas; instead, he brought social reality and human suffering to the screen.

He also acted himself. His performances in several films, including the popular ‘Shrabon Megher Din’ (Day of the Rain Cloud) from the 1980s, captured audiences’ hearts. His acting was subtle but profound.

New Horizons in Television Serials (1985-1989)

Abdullah Al Mamun also played a groundbreaking role in television dramas. In 1985, he created the serial ‘Joar Bhata’ (Tide and Ebb). Through the story of a family, it depicted the dialectic of rural and urban life in Bangladesh. The story of relationships, aspirations, failures, and reconciliation among the characters made audiences laugh and cry. Viewers would eagerly wait for this serial. ‘Joar Bhata’ became so popular that people on the streets would talk about it.

The greatest success came in 1989 with ‘Sangeetsaptak’ (The Seven Notes of Music). It was a serial consisting of seven distinct stories. Each episode had different characters and a different story. In this serial, Mamun portrayed the daily conflicts, loves, dreams, and frustrations of people from various classes of Bangladeshi society. The scripts and dialogues of ‘Sangeetsaptak’ created a buzz among audiences. Many young playwrights were inspired to write after watching this serial. Mamun showed that TV dramas could be of literary quality.

He produced more serials such as ‘Bortoman’ (Present), ‘Protidhwoni’ (Echo), ‘Muktir Shondhane’ (In Search of Freedom), etc. But ‘Joar Bhata’ and ‘Sangeetsaptak’ remain the pinnacle of his artistic life.

Through television serials, he proved that mass media has artistic value, not just entertainment. In his scripts, he touched upon the social, political, and economic crises of the country. An episode of his serial ‘Joar Bhata’ raised the issue of land grabbing from peasants, which caused a stir in contemporary society.

Literary Writings

Though known as a playwright, Abdullah Al Mamun also wrote novels and travelogues. Among his notable books is ‘Manhattan’. It was written based on his experiences and observations while travelling in America. He described the streets of Manhattan, people’s lives, cultural diversity in such a way that readers could visualise them. After publication, ‘Manhattan’ gained widespread readership and became a classic in Bengali travel literature.

Another book, ‘Amar Ami’ (My Self), is an autobiographical work. In it, he wrote about his childhood, student life, theatrical practice, television experiences, and personal feelings. It takes readers deep into Mamun’s inner world. In the book, he describes his life honestly and openly, with no self-praise but rather self-criticism.

He wrote five more novels, most of which are mirrors of society and the middle class. ‘Shukher Shondhane’ (In Search of Happiness), ‘Abaruddho’ (Confined), ‘Godhuli’ (Twilight), ‘Ferari’ (Fugitive), ‘Deyal’ (Wall), ‘Protyaborton’ (Return) are notable among his novels. In these novels, he primarily depicted the crisis of the middle class, the loneliness of urban life, and moral decline.

His writing style is fluid, lucid, and image-rich. He also used dialogue extremely skillfully in his novels. Real people seem to walk through the pages of his novels. According to literary critics, Mamun’s novels and travelogues are no less important than his plays.

Acting

Mamun was not only a writer and director but also a skilled actor. On stage, he acted in his own plays. He particularly won audiences’ hearts by playing various roles in the play ‘Meraj Fakirer Ma’. His performances in television serials and films also captivated audiences. In particular, his character in the film ‘Shrabon Megher Din’ deeply moved viewers.

He was never a lead hero but as a character actor, he was peerless. His acting had naturalness — simple yet profound rather than excessive emotion. He understood that silence is often more powerful than spoken dialogue. His eyes spoke more than words.

Alongside acting, he trained other actors. In the workshops of the ‘Theatre’ troupe, he taught various acting techniques. His acting philosophy was: “To act, you must immerse yourself in the character, forget yourself.”

He demonstrated equal skill in television dramas. He played a small role in his serial ‘Joar Bhata’ and won audience praise.

Awards and Honours

In recognition of his achievements, Abdullah Al Mamun received numerous awards. Below is a list of notable ones:

• Bangla Academy Literary Award (1978) — For outstanding contribution to dramatic literature. He received this award for his stage plays and collected works.
• Ekushey Padak (2000) — The second highest civilian honour of Bangladesh. He received this award for his achievements in drama and film. It is one of the highest recognitions in Bangladesh’s cultural sphere.
• National Film Awards (Best Director) – 2 times — For ‘Ekhoni Somoy’ (1980) and ‘Dui Jibon’ (1988). Additionally, his films ‘Soronbou’ and ‘Ekgherai’ were honoured in other categories.
• Tarakalok Padak — In recognition of his television dramas, awarded by Bangladesh Television.
• BTV Award — BTV gave him a special award for his long-standing unique contributions.
• Bangladesh Natyajan Samiti Padak and numerous other honours — Various organizations and forums honoured him with lifetime achievement awards.

He accepted these awards as recognition of his efforts but never became arrogant. He would say, “Receiving awards is joyful, but the real reward is the love of the audience and readers.”

Personal Life

Abdullah Al Mamun was an extremely simple and taciturn man in his personal life. He avoided luxury and ostentation. Despite his professional busyness, he was devoted to his family. He did not reveal much about his wife and children because he wanted to maintain personal privacy. However, it is known that he was strict about his children’s education and encouraged them in artistic practice.

He prayed regularly and participated in religious events. But he was free from religious bigotry. Among his circle of friends and colleagues, he was a very humorous person. Those close to him know that he would read storybooks when he had time and gossip with friends. He loved to sit in various tea stalls and listen to common people’s stories — which is reflected in his plays.

His attire was simple; he felt comfortable wearing a Punjabi and lungi. He never tried to present himself as a ‘star’. He did not host parties at home and avoided paparazzi and the publicity media.

Alongside his artistic persona, he was a responsible family man. His wife always supported him in his artistic work. His children called him ‘Abba’, and he was very affectionate at home.

Philosophy and Artistic Consciousness

Abdullah Al Mamun believed that art should mirror society. He never wrote plays for pure commercialism or overt political propaganda. Instead, he highlighted the crisis of the middle class, moral decline, poverty, the spirit of the Liberation War, and the dialectic of individual conscience.

He often said, “If there is no reality in a play, why would audiences watch it?” He argued that a writer needs honesty and courage to highlight social incongruities.

He did not want to use art directly as a ‘weapon of movement’, but each of his works carried a social message. His writings never contained leftist manifestos; rather, he maintained literary quality and humanism.

He often told young creators, “The job of art is to tell the truth, even if it is uncomfortable.”

The foundation of his artistic consciousness was the synthesis of aesthetics and social reality. He portrayed both the glory and the crisis of Bengali culture. He was never overly optimistic, nor did he sink into the darkness of despair. Instead, he found hope within reality.

Unknown Facts

Several unknown and humorous incidents from Abdullah Al Mamun’s life:

• The play written at age eight — He wrote the play ‘Niyotir Porihash’ in a notebook and would recite it to the neighbourhood boys. Later, that manuscript was lost. Friends would often remind him of this incident.
• Nurul Momen’s challenge — When Momen told him to read George Bernard Shaw, he collected all the books from the library and read them. Not only that, he later memorised discussions and critiques of almost all of Shaw’s plays.
• Translation of Marlowe’s Doctor Faustus — The translation was so beautiful that Dhaka University professors praised it. He had spent four months on the translation, researching each word meticulously.
• Raising funds for films — To raise funds for his first film ‘Angikar’, he saved on household expenses and sometimes borrowed money from friends. Though the film was not commercially successful, he was not disappointed.
• Allegation of plagiarism — Once, a playwright accused Mamun of plagiarising his dialogues. Mamun replied, “If I steal, I steal dialogues from life — the debt to life is never repaid.” This incident later became a source of amusement in cultural circles.
• He never gave unsolicited advice, but when asked, he would speak with courage.
• In his final years, he took a break from work due to illness, but remained mentally active, continuing to plan plays.

These incidents made him even more beloved to ordinary people.

Illness and Final Days (2005-2008)

After 2005, Abdullah Al Mamun began to weaken physically. He suffered from diabetes. Gradually, liver and kidney complications developed. Due to multiple health problems, he had to be hospitalised repeatedly. Still, he continued his writing more or less. In August 2008, his condition deteriorated. He was admitted to the intensive care unit of a hospital in Dhaka. Doctors said he was suffering from combined complications of heart disease, diabetes, liver, and kidneys.

On 21 August 2008, he breathed his last. He was 66 years old. His death created a void in Bangladesh’s cultural arena. He was buried with state honours. Thousands of people gathered to pay their respects — theatre workers, film personalities, television personalities, writers, educationists, and ordinary audiences.

After his death, the President and Prime Minister paid tribute. The media re-evaluated his work.

Posthumous Legacy and Memorials

Though Abdullah Al Mamun is gone, his work lives on. His plays are staged every year on various stages in Bangladesh. His old serials ‘Sangeetsaptak’ and ‘Joar Bhata’ are re-broadcast on television for nostalgic viewers. The theatre troupe ‘Theatre’ regularly performs his plays.

In 2010, a collection of his works was published in book form. An initiative was taken to build an auditorium and cultural centre in Jamalpur in his name. The Bangla Academy and Bangladesh Shilpakala Academy regularly organise seminars and theatre festivals in his memory.

His translation of Doctor Faustus is still staged by theatre groups. The play ‘Payer Awaz Pawa Jae’ is regularly performed on 21st February and Independence Day.

Although no commercial award exists in his name, there has been talk of introducing an ‘Abdullah Al Mamun Memorial Medal’, which has not yet been implemented. However, artists and researchers regularly write reports and articles about him.

Timeline

• 13 July 1942 — Born in Jamalpur.
• 1950 — Wrote first play ‘Niyotir Porihash’ at age eight.
• Late 1950s — Completed secondary education at a school in Jamalpur.
• Early 1960s — Higher secondary at Dhaka College.
• 1964 — Earned Bachelor’s and Master’s in History from Dhaka University.
• 1964 — Joined Pakistan Television (PTV) as producer and director.
• 1971 — Cultural activities in Kolkata during Liberation War.
• 1972 — Started work at Bangladesh Television; founded theatre troupe ‘Theatre’; first film ‘Angikar’ released.
• 1976 — Staged ‘Payer Awaz Pawa Jae’ (first original verse drama of independent Bangladesh).
• 1978 — Film ‘Soronbou’ released; received Bangla Academy Literary Award.
• 1980 — Film ‘Ekhoni Somoy’ released; first National Film Award (Best Director).
• 1984 — Film ‘Ekgherai’ released.
• 1985 — TV serial ‘Joar Bhata’ broadcast.
• 1988 — Film ‘Dui Jibon’ released; second National Film Award.
• 1989 — TV serial ‘Sangeetsaptak’ broadcast.
• 1991 — Retired as Director from Bangladesh Television.
• 2000 — Received Ekushey Padak.
• 21 August 2008 — Died in Dhaka.

Unique Skill in Script and Dialogue Writing

Abdullah Al Mamun’s dialogues were memorable. He could write simple yet profound dialogues. No character in his plays spoke in ‘pedantic language’; they spoke like real people. This was the main strength of his plays and TV serials.

He believed that writing dialogue was about bringing out a character’s inner vision. Being an actor himself, he knew what dialogue makes acting natural and lively.

In TV serials, he prioritised narrative pace while infusing dialogues with humour and satire. Many dialogues he wrote are still remembered. For example, a dialogue from ‘Ekhono Krittodas’ — “We are still slaves; how will we break the chains of slavery?” — remains relevant even years after independence.

He was equally skilled at writing film dialogues. A line from ‘Soronbou’ — “We go where the river goes. But can we never own the river?” — is a brilliant metaphor for class inequality.

The Importance of Translation and Adaptation

Mamun valued not only original writing but also translation and adaptation. He believed that bringing the best of world literature into Bengali would enrich our art. Therefore, he translated ‘Doctor Faustus’ and adapted Tagore’s ‘Ghare Baire’ for the stage.

He never made these translations and adaptations literal; instead, he adapted the stories and characterisations to suit Bangladesh’s context and the audience’s mindset. This was a challenging task, which Mamun accomplished successfully.

His spelling and sentence construction in translations were praised. He brought English poetry and drama into Bengali in a way that felt as if they were originally written in Bengali. Bringing the rhythm of Elizabethan drama into Bengali was his extraordinary achievement.

He made brief translations or adaptations of several other international stories and plays, though they are less discussed.

Social Awareness and the Role of Art

Abdullah Al Mamun believed in art as a tool for social change. Though not directly involved in politics, protest existed in his work. The play ‘Ekhono Krittodas’ was written against extreme exploitation in society. In ‘Meraj Fakirer Ma’, he warned against blind adherence to religious rituals.

He embodied the spirit of the Liberation War indirectly in various plays. Sometimes the spirit of guerrilla warfare, sometimes the crisis of nation-building after independence — he presented it all. His play ‘Payer Awaz Pawa Jae’ plays a role in conveying the spirit of the Liberation War to new generations.

He believed that the artist is the conscience of society. He kept that conscience unwavering. He would say, “If the artist does not see social injustice, then who will?”

There was never any direct propaganda for any political party in his plays, but he was vocal for the oppressed.

Critical and Audience Appreciation

Criticism of Abdullah Al Mamun’s work has been minimal. Most critics evaluate him as a ‘talented and sincere’ artist. The structure and characterisation of his plays are aesthetically praised.

Some say a few of his TV serials were made with a ‘commercial’ perspective. But Mamun himself dismissed that accusation, saying, “Television is mass media. To reach more people, there will be some commercialism, but if honesty is lost, it will not be art.”

To audiences, he was a name of noble power. After watching his plays, some would write him letters, addressing him as ‘Apa’ or ‘Bhai’. Even after his death, ‘Thank You Mamun Sir’ trended on various social media.

Critic Dr. Amaresh Dasgupta wrote, “Mamun’s plays have reached deep into the Bengali psyche. He has captured the eternal conflict of the middle class.”

International Recognition and Awards

Though Abdullah Al Mamun did not receive many international awards, his verse drama ‘Payer Awaz Pawa Jae’ was performed on Kolkata stages and was well-received there. Theatrical personalities and researchers from India and other countries have written articles about his work.

Kolkata’s ‘Nandikar’ theatre troupe staged an adaptation of his play ‘Ekhono Krittodas’. Mamun was invited to international forums and seminars. He travelled to Delhi, Karachi, London, presenting the state of Bangladeshi theatre.

His translation of ‘Doctor Faustus’ received recommendations for presentation at international theatre conferences, meaning he was not confined only to Bangladesh. But due to financial and physical reasons, it did not materialise.

Even though he could not attend conferences, several articles praising his work were published in international journals.

Mamun’s Place in Bangladesh’s Theatre Movement

Abdullah Al Mamun is a rare name in the history of Bangladesh’s theatre movement. Before the establishment of ‘Theatre’ in 1972, post-Liberation War stage drama mostly depended on Tagore and other classics. Mamun brought diversity to that genre with original plays.

Alongside professional theatre troupes, he also encouraged grassroots theatre. To spread theatrical practice to district towns and upazilas, ‘Theatre’ regularly organised seminars and workshops.

When ‘Theatre’ was just starting in the seventies, Bangladesh had some rural theatre or small troupes in Dhaka. Mamun initiated a renaissance in stage drama across the country with ‘Theatre’. He showed how a troupe can successfully stage original plays, verse dramas, translated plays, and adaptations.

He is the guru of many young theatre workers today. In their interviews, Mamun’s name is uttered with tearful eyes.

List of Masterpiece Works

Stage Plays: Ekhono Krittodas (1972), Meraj Fakirer Ma (1975), Amader Sontanera (1975), Payer Awaz Pawa Jae (1976), Diyal Tor Kanta Diye (1980), Ghare Baire (adaptation), Doctor Faustus (translation)

Films: Angikar (1972), Soronbou (1978), Ekhoni Somoy (1980), Ekgherai (1984), Dui Jibon (1988)

TV Serials: Joar Bhata (1985), Sangeetsaptak (1989)

Books: Manhattan (travelogue), Amar Ami (autobiographical), Shukher Shondhane, Abaruddho, Godhuli, Ferari, Deyal, Protyaborton

These works will forever shine in the Bengali consciousness.

Memorial Events and the Duty of Artists

Every year on 21 August, the death anniversary of Abdullah Al Mamun, the Bangla Academy, Bangladesh Shilpakala Academy, National Theatre Hall, and the ‘Theatre’ troupe organise various events. There are reminiscences of him, stagings of his plays, and speeches by eminent personalities.

Television channels broadcast his old interviews and plays. Introducing him to new generations is the main purpose of these events.

Young people are urged to practice honesty and dedication like Mamun. He never compromised; he never lowered the quality of his creations under commercial pressure. Artists are expected to follow his path.

Various private channels have produced documentaries about him. Members of the ‘Theatre’ troupe still remember him with emotion.

Conclusion

Abdullah Al Mamun wanted to live in the infinite world of art. He was a playwright, a filmmaker, a television producer, a novelist, an actor, and above all, a cultural activist. He enriched Bengali literature and entertainment by traversing the three worlds of stage, screen, and page.

The characters in his plays are still relevant today. The stories of his creation ‘Sangeetsaptak’ are still classic. He never became obsolete; rather, he became more relevant. The eternal conflict of the middle class still exists in Bangladesh today. So Mamun’s work will endure forever.

When he bid farewell on 21 August 2008, the cultural arena of Bangladesh lost a star. But the light of that star is not meant to fade. The countless creations he left behind still make us think, question, cry, and laugh.

Abdullah Al Mamun believed that “artists are the guides of society”. He became that guide and remains immortal in the hearts of millions of Bengalis.

“Perhaps art does not survive; the story of the artist’s sacrifice survives. Abdullah Al Mamun wrote that story of sacrifice on every page, in every dialogue, in every frame. He is gone, but his creation ‘Payer Awaz’ still sounds in our ears.”

Sources

Wikipedia (English and Bengali), Banglapedia article, Daily Prothom Alo, The Daily Star, New Age, Tritiyomatro dot com, Bangladesh Television Archive, ‘Manhattan’ and ‘Amar Ami’ books, commemorative book published by the theatre troupe ‘Theatre’.