‘My Story and Life as an Actress’

Binodini Dasi
1. About the author –
Binodini Dasi was a Bengali actress and singer. She was born
in 1860 in Kolkata. At the age of fourteen she made her debut in the
great national theatre in a minor role. She performed in ninety roles in
more than fifty plays. However, hostile social circumstance forced her
to retire from the stage when she was only twenty-five. Many years
later, she returned as a singer. She died in 1941.
2. About the text-
Binodini Dasi was the first south Asian actress of the theatre to
write her own Autobiography. Her autobiography was originally
published in Bengali under the title ‘Amar Katha’ in 1913. Her
autobiographical piece ‘Amar Abhinetrir Jibon’ reveals the dark side of
being a woman in a male dominated profession.

3. summary-
Childhood
Binodini Dasi was born in the metropolis of Calcutta, in a family without means
or property. Her grandmother had a house of her own, No.145 on Cornwallis Street,
which was occupied by many poor tenants. Binodini’s family was a small family, with
her grandmother, her mother, and her brother and sister. As the brother and sister
grew up, their poverty and sorrows grew, and her grandmother married off her five-
year-old brother to a two and a half years old motherless girl. The girl brought with
her mother's ornaments, and the family lived for a while on the money brought in by
the sale of these ornaments. Binodini's family was forced to sell off their ornaments
and use the money to buy food. Binodini's little brother died at a very early age.
Binodini's brother died in a free hospital and her grandmother rushed to the Ganga
ghat to cremate the body (Kashi Mittir’s ghat). Binodini’s mother was half mad for a
long time. One night, when they were all asleep her mother suddenly cried out to her
dead son and uttered where her darling son had gone. Binodini has heard that she
too had been married, but has never seen her husband. She has heard that her aunt-
in-law had taken away her husband and never let him come back. Binodini's brother
had tried to bring her husband home, and her mother and grandmother both wanted
him to come to live with them. However, his aunt never let him return. Binodini
recounts her childhood memories of a singer named Ganga baiji. Binodini's mother
apprenticed her to Gangamoni to learn singing. Babu Purna chandra Mukhopadhyay
and Brajanath Seth arrived in Gangamoni. They swore to perform a geetinatya called
Sitar Bonobas somewhere, and requested Binodini's grandmother to train her
granddaughter for the stage. They made certain that Binodini would receive a small
sum of money to cover her meal expenses at first, but that as she learned more, she
would be paid more. Back then, there were only two theatres Sri Bhubanmohan
Neogi's National Theatre and the late Saratchandra Ghosh Mahashoy's Bengal
Theatre. Purna babu gave Binodini ten-rupee-a-month job at the renowned National
Theatre. Ganga baiji was a skilled vocalist, but she was illiterate. As a result, Binodini
joined the theatre only a few days later, with very little schooling. She gradually
progressed. Binodini tells her readers that she performed according to the
instructions provided to her on stage. Her thoughts were continually drawn to the
acts of these actresses. Those days there were only four actresses at the National
Theatre: Raja, Khetramoni, Lakkhi and Narayani.

On Stage
Binodini starts this chapter by calling her benefactor, Girish Ghosh, as Mahashoy.
Binodini's life story begins when she first joined the theatre, rehearsals used to be
held in one of Rasik Neogi's houses by the river ghat. It was a beautiful place.
Everyone loved her in a special way and took care of her. Everyone said that if
Binodini was instructed properly, she was sure to perform well. Binodini reports that
their manager was the late Dharmadas Sur, their deputy manager was the late
Abinash Chandra Kar and their teacher possibly Babu Mahendranath Basu. She can't
recall everything, but she thinks Bel-babu, Mahendra-babu, Ardhendu-babu, and
Gopal-babu were the teachers. After much deliberation, these individuals agreed to
cast Binodini in a minor part in the play Beni- Sanhar. She played Draupadi's sakhi, or
handmaid, and was only needed to utter a few words. Binodini recalls her extreme
nervousness on the day she was to perform her part before the public. She was a
little girl and had never had occasion to perform before such a gathering. Backstage,
her teachers tried to reassure her, and she remembered her mother's advice to call
on Hari when she was frightened. The audience clapped loudly to show their
appreciation. Binodini did not know what the clapping signified, but later learned that
people clapped in pleasure if the performance was a successful one. A few days later,
Binodini's teachers conferred and started training her for the part of Hemlata in
Haralal Ray's drama of the same name. Around this time, another female arrived at
their theatre. Kadambini Dasi was the newcomer. She was forced to perform the lead
roles from then on. There were several senior actors. But she quickly surpassed them
in performance. A few months later, the Great National Theatre Company went on a
western tour, and they brought Binodini and her mother with them, granting her a
five-rupee raise. The play Neeldarpan was performed at the Chhatramandi in
Lucknow, where almost all the sahebs of Lucknow city came to see it. Binodini and
her mother were staying in Delhi and her mother was upset at the predominance of
Musalmans in the city. Binodini's mother refused to eat and Binodini sat next to her
all day. The theatre authorities took care of them. Kadambini, the proudest of all the
actresses, was jealous of Binodini and treated her with contempt. They had to travel
from Delhi to Lahore. They had to remain longer in Lahore because they had several
shows to perform. Radhika in Sati ki Kalankini, Kamini in NabeenTapaswini, Kanchan
in Sadbabar Ekadoshi, Fati in Biye Pagla Buro, and many other parts. A strange
incident occurred while they were playing in Lahore. A wealthy landowner named
Golap Singh decided he wanted to marry her and promised her mother whatever she
wanted. The landowner started bothering Dharmadas Sur and Ardhendu-babu. The
guy was apparently a wealthy landowner in the area. They were forced to leave
Lahore shortly after this event.
Neelmadhab Chakraborty was well-known in the realm of drama. Everyone
knew who he was. He had accompanied them on their western trip and had taken
excellent care of Binodini. When the other actors spent their own money on
additional shawls and outfits in Delhi, he purchased Binodini an embroidered shawl
and a sari because she didn't have any. Binodini was hired by the late Sarat chandra
Ghosh mahashoy in his Bengal Theatre at a starting salary of twenty-five rupees. She
had become more skilful and powerful as an actress.

The Bengal Theatre

Binodini claims that in her early years, she started working under the illustrious
Saratchandra Ghosh mahashoy, the Bengal Theatre's teacher. She can't recall why
she departed the Great National Theatre. The Bengal Theatre was responsible for her
professional advancement: it was here, under the direction of Saratchandra Ghosh
mahashoy, that she started acting in main parts in a very short time. Sarat-babu
adored Binodini as a daughter. MeghnadBadh Kabya by Michael Madhusudan had
been adapted for the theatre and was being prepared for performance. Binodini
performed seven parts in this play during the same performance. Chitrangada was
first;Pramila was second; Baruni was third; Rati was fourth; Maya was fifth;
Mahamaya was sixth; and Sita was seventh. Binodini played Manorama in Bankim-
babu's Mrinalini and Ayesha and Tilottama in Durgeshnandini. Binodini says again
that Bankimbabu's Mrinalini was played in this theatre. Those were absolutely
extraordinary efforts.
The National Theatre
After leaving the Bengal Theatre, Binodini joined the late Kedarnath- babu's
National Theatre. She had the main roles in old plays like MeghnadBadh and
Mrinalini.The National Theatre was then going through a bad time and a certain
Marwari businessman called Pratapchand Johuree became the new owner. The
theatre continued to be called the National and Girish-Babu was appointed manager.
The very first play that was produced was Hamir, written by the poet, the late
Surendranath Mazumdar, and Binodini was the heroine in this play. Binodini's
performance in Maya Taru and Anando Raho began to draw crowds, and with Ravan
Badh the hall began to be completely packed. Those rich and learned people who
despised the theatre were the very ones who bought tickets a day. Binodini worked
with Girish-babu from the beginning of the Star Theatre on Beadon Street. She was
his first and foremost disciple and played the chief women characters in his plays.
Girish-babu was a teacher who taught Binodini about the art of acting. He also
discussed the works of famous English poets such as Shakespeare, Byron, Milton and
Pope. When she came back home after the performances, she would tell him
whatever she had felt and understood and he would explain her mistakes to her.
Binodini remembers the success of her theatre. She was trained and instructed by
Girish-babu mahashoy. The management loved her for her commitment to theatre.
Bankimchandra arrived to see his Mrinalini being performed one day, and Binodini
was portraying the role of Manorama. When he saw Manorama on stage, Bankim-
babu exclaimed, "I had created Manorama's character only in a book; It had never
occurred to me that I would see her manifested in flesh and blood. Today, on seeing
Manorama I feel that I am actually before my own Manorama!" Binodini recounts an
incident from her life when she was forced to become the ashrita of a rich young
man, Pratap Johuree. He cared for her from his heart. Binodini recounts the story of
how she left the Star Theatre. She had to work hard on the new plays and began to
fall sick. She applied for a month's leave, but was denied. But her illness worsened
and it took her almost a month to come back to Calcutta. She rejoined the theatre,
but was not paid her wages for the duration of the leave. When she heard this, she
was furious. When Pratap-babu came into the theatre, Binodini asked him for her
salary. He avoided her demand and said she had not done any work. Binodini then
asked Pratap Babu for the last time if he would give her the salary or not and she
went away and did not go back.
(4) Important long questions:
(1) Comment the epistolary technique used by Binodini Dasi in My Story. (2023)
(2) What do we come to know of the world of theatre and entertainment in Calcutta
during colonial times from Binodini Dasi’s My Story. (2023)
(3) Binodini Dasi’s My Story is a feminist document. Comment. (2022)
(4) Binodini Dasi’s My Story is a personal account of pain and betrayal. Discuss.
(2022)
(5) Comment on the condition of women in late 19 th century Bengal that we get from
Binodini Dasi’s My Story. (2021)
(6) What was the state of theatre in Bengal during Binodini Dasi’s time? Discuss.
(2021)
(7) What does Binodini say about her acting career in the Bengal Theatre?
(8) What does Binodini say about her acting career in the National Theatre?