The Hague, Netherlands | 2 January 2026 —
A tranquil garden space in one of Bengal’s most historic cultural towns was transformed into an evocative theatrical arena as William Shakespeare’s celebrated comedy A Midsummer Night’s Dream was staged during Santipur Sanskritik, a three-day cultural programme held from 30 December 2025 to 1 January 2026.
The event was organised at Banakunja, the garden precinct of the residence of Shri Satyanarayan Goswami—Editor of Samajer Pratichhobi magazine—in Santipur’s Baro Goswami Para. Conceptualised and driven by Kaushik Chatterjee, a noted Bengali theatre and film artist, the initiative reflected a strong spirit of cultural entrepreneurship rooted in local creative leadership. The programme drew artistes, cultural observers, and members of the local community, reaffirming Santipur’s longstanding role as a centre of literary and theatrical engagement, while highlighting the impact of artist-led vision in sustaining community-based cultural platforms.
Nature as Stage, Theatre as Experience
An Open-Air Dialogue Between Art and Landscape
Performed under open skies and amid dense greenery, the production achieved a rare sense of intimacy and immediacy that enclosed theatres often struggle to replicate. The rustle of leaves, the cool winter air, and the natural contours of the garden space dissolved the boundary between stage and spectator. Audiences were not merely watching a play; they were inhabiting its world, sharing the same physical and emotional space as the performers.
When Environment Becomes a Silent Collaborator
The natural setting did more than frame the performance—it actively shaped it. Shifting light, shadows cast by trees, and the organic acoustics of the open space subtly echoed the play’s moods of romance, illusion, and playful disorder. In this setting, nature functioned as an unspoken collaborator, heightening moments of magic and mischief while lending authenticity to the dreamlike atmosphere at the heart of the narrative.
Reimagining Shakespeare Beyond the Auditorium
Freed from the rigidity of a conventional proscenium, the production allowed Shakespeare’s text to breathe. Movement flowed more organically, interactions felt closer and more immediate, and the audience experienced the drama as a living, unfolding event rather than a distant spectacle. This spatial freedom reinforced the play’s central themes of transformation and blurred realities.
Bridging Classical Drama and Community Space
While remaining faithful to the original narrative arc, the adaptation was marked by clarity, rhythm, and accessibility suited to contemporary audiences. The classical Western text found renewed resonance within a community-rooted Indian setting, demonstrating that great literature transcends geography when presented with sensitivity and imagination. The result was a theatrical experience where global heritage and local context met seamlessly—natural, inclusive, and profoundly engaging.
Artistic Discipline and Ensemble Craft
The production was marked by cohesive ensemble work and controlled direction. Performers demonstrated balance between physical expressiveness and emotional restraint, while costumes, lighting, and sound design were deployed with aesthetic economy. The overall presentation reflected a level of preparation and seriousness associated with internationally benchmarked community theatre.
Chairman of AUN in Attendance
A Presence That Signalled Wider Cultural Relevance
The programme was notably enriched by the presence of Arindam Bhattacharya, Chairman of Advocacy Unified Network (AUN). His attendance lent the evening a broader cultural and institutional resonance, situating Santipur Sanskritik within a larger conversation on heritage, decentralisation, and community-led arts.
Engagement with Craft and Commitment
Closely following the performance, Mr. Bhattacharya expressed appreciation for the artistic discipline, sincerity, and collective effort displayed by the performers and organisers. He acknowledged the clarity of vision behind the production and commended the seriousness with which a classical text was approached in a non-metropolitan setting.
Decentralised Culture as a Living Necessity
In his interaction with organisers and attendees, he underlined the importance of decentralised cultural initiatives in sustaining living traditions. He observed that towns like Santipur, with deep historical and cultural roots, play a crucial role in keeping theatre and performing arts vibrant—especially when such efforts operate beyond the confines of metropolitan institutions.
Strengthening Local Creative Ecosystems
Mr. Bhattacharya further noted that platforms such as Santipur Sanskritik help nurture local creative ecosystems by providing artists with space, visibility, and community engagement. By reinterpreting global classics within local contexts, such initiatives ensure that culture remains participatory, relevant, and forward-looking rather than ceremonial or exclusive.
His reflections struck a chord with the audience, reinforcing the view that meaningful cultural revival is most sustainable when it emerges organically from communities themselves.
A Community-Led Cultural Model
Curated under the guidance of Shri Satyanarayan Goswami, Santipur Sanskritik emerged as more than a festival—it functioned as a civic cultural platform. With strong local participation and an emphasis on artistic integrity over spectacle, the initiative demonstrated how grassroots cultural leadership can create spaces of serious artistic engagement.
Looking Forward
The successful completion of the three-day programme has generated renewed enthusiasm within Santipur’s cultural circles. Organisers have indicated plans for continued theatrical and cultural programming, with a particular focus on youth participation and broader regional collaboration.
At a time when cultural visibility is often concentrated in large urban centres, Santipur Sanskritik offers a compelling reminder that internationally resonant artistic expression continues to flourish in historic towns—sustained by community initiative, cultural memory, and shared purpose.
Chidinma Adebayo is a seasoned journalist with AUN News, where she covers stories on Climate, Environment, and Global Concerns. She is also a passionate volunteer with Advocacy Unified Network, where she actively campaigns against labor, migration, and trafficking issues. With her strong communication and advocacy skills, Chidinma strives to make a positive impact by raising awareness and bringing attention to critical social issues that require urgent action.
Priyasa Banerjee is the Secretary of Advocacy Unified Network, an international organization that conducts public policy research and advocacy. She is known for her strategic thinking and ability to build coalitions. She is also an avid supporter of the arts and cultural expression.
— AUN News
