Stage-decoration and dressing and painting are the two subjects which were developed by constant research work. Samar Bhowmik wrote;
" It was only Rabindranath who was the key person of all these activities and for this reason Abanindranath or Gaganendranath had to draw sketches of stage, light and make up and to get the approval of Rabindranath. Rabindranath has monitored every aspect of stage, make up and paintings before the final performance. This type of work in giving a final shape to the drama Abanindranath and Gaganendranath have done many times by spending their valuable times in their professional work under the direction of Rabindranath to create characters in dramas of National level. This will undoubtedly serve the purpose of final show under the direction of Rabindranath. Only in 1923, at least 6 dozens of such paintings were made ready. The credit of the stage craft and make done this year was due to nandalal basu and Surendranath Kar.
Dinendranath wore a red silk dress usually put on during religious festival and Rabindranath put on yellow dress . The other roles took dresses suitable to their roles.The sleeves of the shirts were long and hairs were untied with strings of beads on the neck. Abanindranath and gaganendranath took the role of villagers. Gagan Babu was carrying a hookah and Abanindranath was in a comic role.
The Shraban-issue of "Prabartak" criticised of putting same dresses by Raghupati and Gunabati on all the three days.
the Viswabharati Quarterly in its Viswa-Bharati Bulletin on Oct 1923 reported about the performance mentioning about the dress and stage;
" ..... the stage was draped throughout in different shades of dark blue, deepening as they receded into the background. There was no change of scene, the blood stained temple steps, designed in Cubist fashion, dominated the eye throughout ; a lurid red light marked the entrance to the Temple itself, invisible in the darkness beyond the wings ; while the songs of the World Mother served to punctuate the otherwise continuous action. The other stage accessories, requisitioned to assist in the interpretation, were the colour schemes of the costumes in combination with changing light effects against the dark blue hangings, symbolic of the play of samsara on the continum of Mahakala..
" It was only Rabindranath who was the key person of all these activities and for this reason Abanindranath or Gaganendranath had to draw sketches of stage, light and make up and to get the approval of Rabindranath. Rabindranath has monitored every aspect of stage, make up and paintings before the final performance. This type of work in giving a final shape to the drama Abanindranath and Gaganendranath have done many times by spending their valuable times in their professional work under the direction of Rabindranath to create characters in dramas of National level. This will undoubtedly serve the purpose of final show under the direction of Rabindranath. Only in 1923, at least 6 dozens of such paintings were made ready. The credit of the stage craft and make done this year was due to nandalal basu and Surendranath Kar.
Dinendranath wore a red silk dress usually put on during religious festival and Rabindranath put on yellow dress . The other roles took dresses suitable to their roles.The sleeves of the shirts were long and hairs were untied with strings of beads on the neck. Abanindranath and gaganendranath took the role of villagers. Gagan Babu was carrying a hookah and Abanindranath was in a comic role.
The Shraban-issue of "Prabartak" criticised of putting same dresses by Raghupati and Gunabati on all the three days.
the Viswabharati Quarterly in its Viswa-Bharati Bulletin on Oct 1923 reported about the performance mentioning about the dress and stage;
" ..... the stage was draped throughout in different shades of dark blue, deepening as they receded into the background. There was no change of scene, the blood stained temple steps, designed in Cubist fashion, dominated the eye throughout ; a lurid red light marked the entrance to the Temple itself, invisible in the darkness beyond the wings ; while the songs of the World Mother served to punctuate the otherwise continuous action. The other stage accessories, requisitioned to assist in the interpretation, were the colour schemes of the costumes in combination with changing light effects against the dark blue hangings, symbolic of the play of samsara on the continum of Mahakala..
