This rising ideology was inscribed around the figure of the middle class or middle/upper caste women. This newly emerging nationalist current was a largely masculine construct, based on the Hindu scriptures. It is a matter of happy chance (and thus establishes itself as a fact, later) that when Binodini left the stage she was of the same age-twenty-three or twenty four-as Chaitanya when he renounced sansar (Bhattacharya 1995–96).īy the end of the nineteenth century, Calcutta was torn between the colonial culture and a heavily middle-class generated nationalist culture, as a counter to the former. The entire staging of the Chaitanya Lila, in retrospect, can be observed as a phenomenon-a fallen woman, playing the role of Chaitanya, the latter being the Vaishnava cult figure Ramkrishna, one of the renowned proponents of Vaishnavism, himself was present during the staging of the play and blessed the actress. The last statement might seem assertive, but the reasons behind it aren’t scanty. The actress played the role of young Chaitanya and it happened to be her most phenomenal performance, as well as of any actress in the history of nineteenth-century popular Bengal theatre.

The play was Chaitanya Lila and the performer was Binodini. The year was 1884 in colonial Calcutta, the theatre goers were astounded by the performance of a young actor and so were the critics.

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