Ismat Chughtai’s stories come alive on stage in ‘Kaagaz Ke Gubbare’
KOLKATA: Urdu author Ismat Chughtai’s fearless writings have always addressed women’s issues: their desires, rights, and quest for independence. When director and actor Anubha Fatehpuria delved into Chughtai’s works, she found a deep resonance with her thoughts and narratives. On Saturday, Fatehpuria impressed the audiences at KCC with her play ‘Kaagaz Ke Gubbare,’ brilliantly bringing Chughtai’s evocative short stories and writings to life on stage.
The play features a selection of six of Chughtai’s short stories namely ‘Kunwari’, ‘Ek Shauhar Ke Khatir’, ‘Chhui Mui’, ‘Gharwali’, ‘Pesha’, and ‘Ghoonghat’. These narratives are explored through a blend of dramatised readings, theatrical performance, percussion, and songs. The play explores themes of love, jealousy, betrayal and the search for identity. The metaphor of ‘kaagaz’ (paper) symbolises the fragility of the female condition, while ‘gubaare’ (balloons) represents the potential to rise when ignited by passion.
“All of Chughtai’s stories are just as relevant today as when they were written. Unfortunately, patriarchy still exists, holding women back. It’s sad these stories still ring true, making us question how much progress we’ve really made in the last 76 years,” said Fatehpuria, who has received the Sangeet Natak Akademi’s Ustad Bismillah Khan Yuva Puruskar. She has worked with various directors including Habib Tanveer, Shyamanand Jalan, Usha Ganguli, Alyque Padamsee, and more. Since 2002, she has been associated with Kolkata’s Padatik Theatre group.
Fatehpuria highlighted how she interpreted Chughtai’s stories in her own way for ‘Kaagaz ke Gubbare’. “There’s been much discussion about what men and society should do for women, but Chughtai’s message to women of all ages is about self-empowerment — asking what they have done for themselves. That’s what I brought to the play,” said the actress, also known for roles in Bollywood films like ‘Zara Hatke Zara Bachke’ and ‘Teri Baaton Mei Aisa Uljha Jiya’.
