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Girish Chandra Ghose's best student, Shree Ramakrishna's affectionate actress, theatre -lovers' favourite heroine, is none other than the unforgettable actress, Noti Binodini. This paper highlights on her acting career and quality. The paper has tried to point out some of the problems of prostitution which had separated those women who were associated with that work inspite of their unwillingness yet their contribution on theatre would never be forgotten. Binodini was the best among them. This paper describes Binodini's excellent artistic quality and the stigma of her birth which pushed her outside the respectable area of women. This paper is a part of comprehending and understanding her suffering and exploitation which took place in the 19th century Kolkata. She was instructed to accept her existential condition as determine by her fate. Her hard effort to escape from the stigmatised life proved to be useless. This paper shows what a tremendous love, dedication and sacrifice a young girl had shown for theatre, and within the span of 12 years how unbelievable, how unimaginable acting she did and how appreciation she received from various persons! Simple, innocent Binodini's faith was crushed with the cruelty of those men who had falsely made her believe in an honourable life. The experiences she gathered in her life's journey were miserable and misfortunate yet her success was unparalleled. This paper indicates that an actress reached the summit of success through hard work, deep concentration and devotion to the theatre and thus she becomes an inspiration for those who are struggling and trying to get success.

After going through the topic "Binodini the Great Actress", everyone seems to be able to understand and discuss the life and work of Noti Binodini, who was the greatest actress of the 19th century colonial Kolkata inspite of her birth to a prostitute family. It explains how Binodini had developed her acting career and quality, the experiences she had gathered in her life, how she had changed the mind of the common people regarding theatre and forced them to go to the theatre by her excellent acting. This paper focuses on her devotion, dedication, suffering, sacrifice, and success and it seems that she may be an inspiration for those who are in trouble and struggling with the difficulty and hostility.

Life

Binodini was successful on stage but her personal life was filled with pain, misery and misfortune. This unforgettable actress was born to a prostitute family in 1862 in Kolkata. In her childhood she had lost her brother which made her mother almost mad. Gradually she was recovered from that agony. Binodini's family was surrounded by some men and women. Binodini watched them. They were not husband and wife always busy in quarrelling, abusing one another in loud voice. But after an hour they became calm and quiet began to make fun gossiping and joking with one another. Little child did not understand the reality. She was confused about their nature, behaviour and attitude, but time made her understand everything. At the age of seven Binodini was sent to Ganga Baiji to learn music as it was important for a prostitute. Purno Chandra Mukhopadhyay came to Ganga Baiji to listen her song. He understood Binodini's talent and smartness. He advised Binodini's mother to send Binodini to the theatre to earn money which would help to remove their excessive poverty. With her mother's consent he took her to the Great National Theatre. Binodini got her real and favourite place and theatre got a new glorious star. She hated the profession of prostitution but fortune was never in her favour. Her mother pressurised her to stay with wealthy men as she was engaged with the of prostitution.

Binodini was in the shelter of a young handsome 'Jomidar' of Rongpur of undivided Bengal. The 'Jomindar' impressed Binodini with the words of making her happy-

"I will marry you. You must be my wife and mother of my children". To be wife and mother was nothing but a dream for a whore. Binodini brought the news of the 'Jamindar's ' secret marriage, so her dream was destroyed . For the sake of theatre she changed her shelter of the 'Jamindar' and she was advised to stay with Gurmukh Ray who greatly liked her. The 'Jamindar' did not accept her decision so he brought forces to create pressure on her, Gurmukh Ray on the other hand sent his forces to save her. The 'Jamindar' was defeated in this clash and then he attacked her with a sword but failed to kill her. In spite of her unwillingness she was bound to stay in Gurmukh's shelter. When Gurmukh Ray became ill and made her free, Sharat Chandra Ghose, known as 'Ranga Babu' married her and gave her family. She gave birth of a child Shakuntala, but her happy life was not permanent because her daughter Sakuntala left her at the age of 13 which pushed hard into deep sorrow. 1912 was a painful year for her as her husband 'Ranga Babu' and her educational guru Girish Chandra Ghose were died and she became completely alone. She disclosed everything in clear voice in her autobiography, 'Amar Katha' published in 1913 though she began her writing and publishing at the end of 19th century. In 1885 she published a bunch of letters in the weekly paper 'Bharatbasi' it was her first publication, in 1895 she published three poems in the paper 'Sorrow', Girish Chandra Ghose was its chief editor, in 1896 she published her first book of poetry under the title of 'Basona'. In 1905 she published her second book of poetry entitled 'Kanak and Nolini'. Her incomplete work 'Srimoti Katha' was published in 1925, this talented,attractive and legendary actress breathed her last in 1941.

Acting Career

Great National Theatre

Binodini started her acting career in the Great National Theatre in 1874 at the age of 12. 'Benisanhar' was her first play where she was a sokhi (friend) of Draupadi. It was a small role, but within a limited space she proved her quality and was able to win the others' mind by her wonderful acting, so, the senior members thought of making her the heroine of the next play 'Hemlata' written by Harolal Ray. As the main actress she went with the Great National Theatre to the North and undivided North-West India. In Lucknow the play 'Nildarpan' was performed in May 1875. In the middle of the play Mr.Rog tried to bring Khetromoni in his grip forcefully in spite of her it's strong opposition. Then the Torap came in her rescue and beat the shaheb Rog. This incident made the shahebs who were the audience furious and one of them jumped into the stage to punish the Total . For this noise the play was stopped and the members of the Great National Theatre were bound to leave the city. In Lahore (now in Pakistan) they performed three plays and Binodini was heroine of all those plays. She was Radhika in the play 'Sati and Kolonkini' (1875), Kamini in the play 'Nobin Tapaswini' (1875), and Kanchan in the play 'Sodhobar Ekadoshi' (1875). All the plays where successful and everyone was charmed at Binodini's excellent acting but the peril did not leave her as the powerful local 'Jamindar' 'Golap Singh' decided to marry Binodini so, her mother was called. She went to the 'Jamindar' with 'Dharma Das Sur', manager of the Theatre. Golap Singh proposed Binodini's mother to arrange her daughter's marriage with him and for this marriage he would be ready to provide as much money as she would want. She refused, then he pressurised them. Assuring him to think of it positively and inform him very soon they returned. Ardhendu Shekher Mustaphi cleverly handled the situation as he had falsely convinced the Jamindar that after a month Binodini's contract with the theatre would be ended and then there would be no problem for arranging the marriage. He also assured Golap Singh that Binodini must be grateful to make her as his wife. Jamindar was pleased with his assurance and his followers helped them to leave Lahore. Binodini acted in 11 plays in the Great National Theatre from 1874 to 1876 .

Bengal Theatre

Binodini bid farewell to the Great National Theatre and joined Bengal Theatre where she acted in four plays, three of them were written by the famous author Bankim Chandra Chattopadhyay in the form of novel ( Kapalkundala, Durgeshnandini, Mrinalini), while the other was written by Michael Madhusudan Dutta in the form of epic (Meghnadbodh). Binodini stayed in the Bengal Theatre from 1876 to 1877 in that theatre she made a wonderful job by acting in two roles in a single play for the first time. In Durgeshnandini she acted the roles of Tilottama and Ayesha. In Meghnadbodh (1876) she was in the role of Promila, riding on a horse. In the middle of the play when she exited, unfortunately the horse was stumbled and she failed down which caused her great injury, but she did not stop her acting, she continued with bandage from knee to belly. Her acting was so lively that it could not be understood, what a terrific pain she had suffered!

National Theatre

Binodini was in the National Theatre from 1877 to 1883. They are her first play was 'Meghnadbodh' performed in 1.12.1877. In that theatre she acted on 48 plays. There she got Girish Chandra Ghose as her teacher and she was his first and the best student. Binodini got training and learned language in the Sensibility of new middle class culture and codes of conduct of feminine domisticity and the new idea of humanism, in this respect writings of Michael Madhusudan Dutta, Bankim Chandra Chattopadhyay, Dinobondhu Mitra helped her, she also read Hindu Mythology, religious story to make her concept clear and strong regarding the characters about which she had acted. Binodini wrote in her autobiography 'Amar Katha', " Girish Babu had said that the theatre alone was the ladder of my self-improvement. The success of my education he had imparted on me, could only be realised on stage by me. Theatre could bring a world of humour and respected for me. My fantasies were puffing up in the dream of the fulfilment of my desire. My teammates would not stop imploring and I decided to go for theatre because I loved theatre too much." Ultimately Binodini understood the cruel nature of men, who requested her to accept Gurmukh Ray's proposal, would not agree to assosiate her name with the theatre, as she was prostitute. In spite of cruel attitude of her teammates she did not stop acting .Girish Chandra Ghose at first the analysed the characters and advised Binodini to read the story to understand the situation, nature, behaviour, like and dislike of the characters. Binodini obeyed the instructions and at last she practised before the mirror to find out the mistakes. Girish Ghose taught her to analyse the characters with logic. The surprising acting she showed in her third phase as she had acted in seven roles in a single play, 'Meghnadbodh'. Due to monetary problem National Theatre was closed and Star Theatre took its placed with the same manager and the same members of National Theatre.

Star Theatre

Binodini was the member of Star Theatre from 1883 to January 1887 and it was her fourth and last phase of her acting career. There she acted on 21 plays. Her first performance was 'Daksha Yagna', performed in 21.3.83 and her last performance was 'Nal-Domoyonti' performed in 11.1.87. In that theater Girish Chandra Ghosh had read the works of 'William Shakespeare, John Milton, Lord Byron, Alexander Pope, etc' and Binodini listened to that reading with great concentration and attention. Girish Chandra Ghosh advised her to go to the English Theatre and after her returning he wanted to know her opinion about the acting.

1884 was a memorable year for her, because both father Larfo and Shree Ramakrishna saw her unforgettable acting and blessed her, though they did not go togetherly. Binodini showed her unbelievable acting ability in the play 'Chaitanya Leela' where she had acted the role of Chaitanya (man) . She performed in the role of man almost in four plays, out of which 'Chaitanya Leela' was the best, first performed in 2.8.84. She tried to forget all the miseries and misfortunes for theater which she loved and she sacrificed her self for theatre but repeated betrayal was impossible to bear with so suddenly she departed the theater at the age of 24 when she was bloomed on theatre like a beautiful flower. Within 12 years of her acting career she acted almost 90 roles in 80 plays. 'Kalish Mukhopadhyay ' chief editor of 'Rupmancho' has rightly pointed out " We have drowned our mother of Star Theatre ".

Acting Quality

It is not easy for an actor/actress to act on two different roles in a single play because in plays scenes and acts are changed very fast so the hero/heroine has to change quickly both outer and inner condition. Besides this it is his/her responsibility to make the audience convince by acting that two actors/actresses have come to act for two characters. Binodini did it skillfully, successfully and wonderfully as she had an excellent acting quality. In 'Durgeshnandini' Binodini acted on two different characters - Tilottama and Ayesha. The first was calm and quiet, she was devoted to her love, whereas the second was a gorgeous and glorious princess. She had the power to reject Osman, a brave soldier and was ready to sacrifice her (Ayesha's) love for the sake of Tilottama's true love for Jagat Singh. Binodini also acted on two characters in 'Kapalkundala', 'Kamole Kamini' in every plays she was successful. No one believed or imagined that a young girl would act on seven roles, Binodini did it easily and beautifully in 'Meghnad Badh', (15.1.81) where she acted on the roles of 'Chitrangada, promila, Roti, Baruni, Maya, Moha Maya and Sita'. Girish Chandra Ghosh knew his student like his palm. So, he was sure that Binodini would be ready to act on any role given to her. He gave her an opportunity to act on the role of a man, and great actress Binodini gladly accepted that challenge and proved her tallent by her acting and made it clear that her Guru made no mistake in giving her the chance of acting on the role of a man in the play 'Chaitanya Leela'. This play brought a great success and glory not only for Binodini but for Star Theatre as well . Seeing this play Cornel H.S.Olcott wrote "As for the Chaitanya Leela | unhesitatingly affirm that it is impossible for any one to witness the play without a rush of spiritual feeling and religious fervour. The poor girl who played 'Chaitanya' may belong to the class of unfortunates but while on the scene she throws herself into her role so, ardently that one only sees the Vaishnava Saint before him."

29th September 1884 "Hindu Patriot" wrote "The actress who took the part of Chaitanya seems to be gifted with considerable histrionic ability." Shambhu Chandng Mukhopadhyay, chief editor of Reis and Rayet, weekly paper (1839-1894) wrote, "But last not least shall we say of Binodini, she is not only the moon of Star Company, but absolutely at the head of her profession in India. She must be a woman of considerable culture to be able to show such an effected sympathy with so many and various characters and such capacity of reproducing them. She is certainly a lady of much refinement of feeling as she shows herself to be one of enemitable grace.Her Chaitanya showed a wonderful mastery of the suitable forces dominating one of the greatest religious charecters who was taken to be the lord himself and is to this day worshipped as such by millions, for a young miss to enter into such a bing that as to give it perfect expression is a miracle. All we can say is that genius like faith can remove mountains." Binodini was not only apprecited for 'Chaitanya Leela' but she was appelcited almost for all plays as well. Seeing Binodini's acting Bankim Chandra Chattopadhyay (1834-1899),said "I have created Monoroma only in book, but never hope of seeing her really but today seeing Binodini's acting on her role that mistake is removed". Stage was an ambitious place for Binodini. She acted on the role of maid, lover ,friend, housewife, princess, queen, mother, daughter, mythological characters, historical heroines, man, in every position she was appreciated for her unparallel acting. Her acting was so real and lively that her acting did not seem to be acting only. Girish Chandra Ghosh told, "I never forget Binodini's acting on the role of Gopa in the play 'Buddhadev'. Binodini was greatly appreciated by Edwin Arnold, writer of Light of Asia, for her acting on Gopa. 'The Statesmen' called her, "Flower of the Native Stage." Actually it seems that Binodini was born only to be a great actress.

Retirement

Binodin's sudden decision of taking retirement was a heavily blow for the theatre-lovers.But why did she retire at the age of 24, when she was at top of her form, was the big quistion. She actually wished to find her identity as an actress so she consider herself as a part of the theatre and this was parhaps the reason for her Sacrifice.She saw theatre as a learger family, but she was neither treated according to her qualitty nor was paid respect from the large family what she deserved. She suffered betrayal at sevarel labels both in her personal life as well as professional career. Binodini clearly told - "I loved theatre so I have worked, on it but to be deceived is very painful I can not forget that, so I have decided to retire!" Dramatic analyst Hemendra Nath Dasgupta explained in clear term, "Binodini departed the stage for deep centiment". Binodini remembered that sinces they were prostitute hence they had been marked as the decever. She told in sad tone that no one though of them when they had been continuously cheated by the rich. Gurmark Ray offered Binodini fifty thousand rupees on condition of from keeping her away from theatre, but Binodini disagreed with him as acting was more important to her than money. Realising Binodini's firmness in acting Gurmuk Ray withdrew his proposal of giving money. He promised to build theatre at the coast of Binadini, Girish Chandra Ghosh and other members requested Binodini to accept his desire Binodini agreed to be concubine of Gurmuk Ray for the sake of theatre. Gurmuk Ray decided to name the theatre as 'B' on Binodini theatre but, the members farmly opposed as they did not like to associtate with that theatre which would carry the name of a whore. Gurmuk Ray became ill and thought of giving the ownership of that theatre not to Binodini but his intension was not fruitful as opposition was continued.

These incidents disappointed her and it made her clear that her sacrifice for the theatre which would was know as Star Theatre would bring honor for her. Her teammates would alawys think of her nothing but a prostitute.Binodini struggle to escape from the stigma of her birth though she was not responsible for that. Binodini had rightly pointed out that if they would want to lead a good and normal life leaving the profession of prostitution, no one would then accept their intention. Every one had the right of self defence but their intention for self defence was roughly rebuked. She pronunced in appropriate tone that they had love, heart and caring attitude for husband but no one stood beside them to save, from the prostitution. Their pain, tears and suffering were not sympathised. Most of the people those who had come in their close contact, wanted to use them for their own necessity, Binodini was kept out side from the respectable section of women. Socity only had pointed finger to her acceptence for the position of concubinage to verious wealthy patrons. But did not justify her work for the solidarity and of well-being of the theatre and art. Even socity considered her public performence as a violation of faminine respectibility by subjecting her body as a comodity for pleasing in the eyes of male voyeur, all though she was interpellated by the hegemonic patriarchal discourse as 'barangana', "kolonkini" or "potita", Girish Chandra Ghose descibed Binadini "As the piller of Bengal Theatre" and he told "It is unnecessary to say that her (Binadini) departure is a great loss for Bengal Theatre".

Binodini and Ramkrishna

Brahmananda Keshob Chandra Sen, a member of Bramha Somaj, hareshly criticised in his Paper 'Sulav Samachar' the prostitutes to act on theatre. He thought that those who would come to their contact would be debased and neither the actors nor the audience would be saved. Infact he showed no flexibility and generosity which were the features of 'Brahma Samaj' . Here his narrow mindedness was revealed because he thought that those who would go to the theatre would be allured, tempted and defenceless. In his criticism art was neglected and prostitution was highlighted. It should be kept in mind that acting is not an easy task and it is impossible for an actress to be ranked equally with Binodini without excellent artistic approach. Michael Madhusudan Dutta, Bankim Chandra Chattopadyay, Swami Vivekananda supported the acting of the prostitute and above all Shree Ramakrishna (great Saint of 19th century Bengal) supported her acting and blessed the great actress Binodini. He went to the Star Theatre to see the play 'Chaitanya Leela' without invitation he was charmed at Binodini's worderful acting. After the play he touched her head, blessed and initiated her "Hori Guru, Guru Hori". Both Binodini and the theatre was glorified on that day for his legdust. This incident reminds the meeting between 'Amropali and Gautam Buddha'. Being aware of amropali's profession (prostitution) Goutam Buddha went to her house and took lunch on her house without any hesitation. Shree Ramkrishna hat understood that Binodini was a pure girl and an excellent artist so she was worthy of appreciation and blessing. When Shree Ramakrishna became ill Binodini went to see him in a disguise of a man. No one but he recognised her and asked to sing that song which she sang in the play 'Chaitanya Leela' and Binodini was happy to sing before him. Binodini had thought that she was grateful to the theatre which brought her to Shri Ramkrishna. He concidened women as mother. To him no one was sinner, untouchable and impure his initiation brought a greal change in her life. So, she perphaps chose the life of spirituality.

Binodini used the word 'Noti' before her name to acknowledge her idently as an actress. The word 'Noti' in the writings of 19th century Bengal increasingly became a comment on sexuality rather than a primary indicator of occupational identity. Actually, Binodini fought against the social stigma of "Noti" (A public female dancer) labelled on her. She forced the socity to reconsider her position as an actress thus she proved that woman's power should not be avoidable what Gayatri Chakravorty Spivak (professor of Columbia University) told in her essay, "women cannot be dimissed as powerless". Now a days when Binodini is called 'Noti Binodini'. She is thought as a great actress not a dancer or prostitute. In today's female performers enjoy social status and respectebility. So, it is necessary for them to be gratefull to 'noti' binodini who showed how to fight against the hostility and also proved that only devotion, dedication and love for own work is needed to get success and it helps to reach to the top.

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