Literature Desk :
In 1948, he went to England for higher studies (on being granted long leave from DU), graduating in Law from London University in 1951. While in London, he, along with his friend Nazir Ahmed, started the first weekly Bangla programme from BBC. Nazir took charge of News, while Momen looked after Literary programmes. He used to conduct the popular children’s programme, among other programmes, called Kakoli. The famous opening lines he uttered were, “London thekey dadavai bolchhi (its dadabhai speaking from London).” He also worked as the Education Officer at Pakistan High Commission in London for a year. His translation of Rupantor (The Transfomation) and other English plays by him made him famous in main stream theatre scene of London. He took part in and directed Death of a Salesman by Arthur Miller and other plays on London stage. He taught theatre; theory at The Old Vic and other theatre schools. He once bought a villa and decided to settle there to and make Bangiyo theatre more exposed to international drama-scene. If he had settled there, he definitely would have become more internationally famous.
On his return, he rejoined Dhaka University (DU). He introduced actresses on stage for the first time staging his Rupantor at Curzon Hall where Rijia was played by a female student, Sabera Mustafa. Razia Khan and Dilarii Zaman were also introduced by him at that time. Besides teaching, he served DU in various capacities. He was the House Tutor and Provost at Dhaka Hall and Fazlul Huq Hall (Provost, 1957), Dean of the Law Faculty (1963), Proctor of the Dhaka University and Treasurer.
In 1953, a conference of Vice-Chancellors of Commonwealth Universities was held at Dhaka. An origmal English verse-play written and directed by Nurul Momen We are Brothers All was staged at Curzon Hall in their honour. The plot revolved around Dr Bashir, an absent-minded nuclear-physicist busy with his laboratory. It shows the scientific foresightedness of Nurul Momen, when even in the West; nuclear-physics was only in its inception. After watching this play, the VC of Quebec University went on the stage on behalf of all attending VCs and said, “We knew that Rabindranath Tagore was a genius from this part of the world, but we did not know that N urul Momen was another such.”
In 1955, Malcolm Muggeridge, the world famous critic and the erstwhile editor of the famous British satire-magazine Punch, commented on Nurul Momen after watching his comedy Underneath the Law (which was written only in English), “I Mac Muggeridge, who so often finds that a play which purports to be amusing, isn’t; found this play immensely amusing.” This, from the editor of Punch, is high praise. “Nurul Momen has pioneered the theatre of East Pakistan (later Bangladesh) into a modernism which could very well be compared to European theatre.” Peter Archer, a famous British theatre personality, had commented, “What Nurul Momen did for the modern drama in East Pakistan (Bangladesh), has bestowed him with the honour to be the Father of Theatre of East Bengal.”
When Dhaka TV began in December 1964, he wrote its second play Ondhokartai Alo. He was composer and presenter of the first quiz and magazine show on TV, ‘National Bank Quiz.’ In 1965, he acted in Nemesis on Dhaka TV. Everybody, especially theatre buffs, lauded that performance. He wrote and directed about 100 plays for Radio, TV and stage, especially Curzon Hall of Dhaka University.
He protested against Pakistan government’s directive to ban Tagore songs on Radio and TV in 1967. He also protested against move to reform the Bangla Alphabet replacing it with Arabic or Roman script. He challenged Ayub Khan that Bangla language and litterateurs are more competent than Urdu litterateurs, claiming that no Urdu litterateur could learn and write in Bangla in a stipulated short time. As a result of this challenge, Nurul Momen learned Urdu in three months and wrote and published a huge satirical essay in Urdu ‘Mayneye Khab kiun Dekha (Why did I dream it)’, in the largest Urdu language daily of Pakistan, Jung. In 1966, he wrote a symbolic costume play for children Thik Cholar Poth (The right way to go, mimicking autocracy of Ayub Khan. In this play autocrat Owl is challenged by other timid animals under leadership of Jackal. The word ‘autocrat,’ was used twelve times in that play, which was a great act of courage under martial law. It was not broadcast from Dhaka Radio. Later Rajshahi Radio transmitted it. In 1968, broadcast of a Nurul Momen-play was interrupted for the monthly speech by Ayub Khan. Nurul Momen was vehemently enraged and complained to DG, “A Bangla Nurul Momen-play is definitely nearer to the heart of the people than a monthly speech by Ayub Khan.”
Nurul Momen did not believe in the ideology of united Pakistan and that is why he supported the War of Liberation in 1971. As a playwright, he exposed the inconsistencies and conflicts of his time in his plays through satire and farce. Among his major plays are Rupantor, Nemesis, Yadi Emon Hoto Naya Khandan, Alochhaya, Shatkora As Eider Ontorale, Rupolekha, Bhai Bhai Shobai (a play with only male characters), Eituku ei Jibontate (a play with only female characters), Underneath the Law, We are Brothers All, Is Law An Ass, At the Altar of the Law and Jemon Ichchha Temon, etc.
He received the ‘Best New Playwright Award’ in Kolkata in 1954, Bangia Academy Award in 1961, honoured at India-Pakistan Cultural Conference in New Delhi in 1963, the Chicago University’s International Players’ honour in 1964, honoured by British theatre personalities in 1966, Sitara-e-Imtiaz in 1967 (which he renounced and destroyed in 1971), Medjid Al Makky award in 1968, honoured by drama group Theatre in 1977, Ekushey Padak in 1978, Nasiruddin gold medal in 1979, Chader haat Award in 1988 and Tenasinas award in 1989 for his contribution to literature.
Nurul Momen was an eloquent orator both in the classroom and in public. He spellbound his students and audience with sharp humour and knowledge. While attending Kagmari Conference convened by Maulana Bhashani, Nurul Momen had to return earlier for a stage performance. Mowlana Bhashani was supposed to be the last speaker. But he delivered his speech earlier saying, “If an orator like the professor (pointing towards Nurul Momen) leaves, whom shall I deliver my speech to?”
Nurul Momen was the head of the jury board for All Pakistan Film Festival in 1965; National Drama Festivals of Bangladesh organised by Bangladesh Shilpakala Academy in 1976, 1977, 1978, 1979 and National TV Award in 1976, 1977 & 1978.
He wrote the smallest play of the world also. Its duration is 13 seconds. Its characters are: a signature, a page of a cheque-book and a page of an autograph book.
He wrote the first Bangla Law book Muslim Ain in 1962. His famous essay books are Aloker Jhornadhara, Lest we Forget, Drishti Anyatoro, 21st February etcetera. He penned and directed the 1st drama serial of Bangladesh Betar (Radio), Dekhey Choli and 1st drama serial of Dhaka TV; Bismritii Monikothhay. Nurul Momen cut the cake on the 25th Anniversary of Bangladesh Television on 25th December 1989. n
In 1948, he went to England for higher studies (on being granted long leave from DU), graduating in Law from London University in 1951. While in London, he, along with his friend Nazir Ahmed, started the first weekly Bangla programme from BBC. Nazir took charge of News, while Momen looked after Literary programmes. He used to conduct the popular children’s programme, among other programmes, called Kakoli. The famous opening lines he uttered were, “London thekey dadavai bolchhi (its dadabhai speaking from London).” He also worked as the Education Officer at Pakistan High Commission in London for a year. His translation of Rupantor (The Transfomation) and other English plays by him made him famous in main stream theatre scene of London. He took part in and directed Death of a Salesman by Arthur Miller and other plays on London stage. He taught theatre; theory at The Old Vic and other theatre schools. He once bought a villa and decided to settle there to and make Bangiyo theatre more exposed to international drama-scene. If he had settled there, he definitely would have become more internationally famous.
On his return, he rejoined Dhaka University (DU). He introduced actresses on stage for the first time staging his Rupantor at Curzon Hall where Rijia was played by a female student, Sabera Mustafa. Razia Khan and Dilarii Zaman were also introduced by him at that time. Besides teaching, he served DU in various capacities. He was the House Tutor and Provost at Dhaka Hall and Fazlul Huq Hall (Provost, 1957), Dean of the Law Faculty (1963), Proctor of the Dhaka University and Treasurer.
In 1953, a conference of Vice-Chancellors of Commonwealth Universities was held at Dhaka. An origmal English verse-play written and directed by Nurul Momen We are Brothers All was staged at Curzon Hall in their honour. The plot revolved around Dr Bashir, an absent-minded nuclear-physicist busy with his laboratory. It shows the scientific foresightedness of Nurul Momen, when even in the West; nuclear-physics was only in its inception. After watching this play, the VC of Quebec University went on the stage on behalf of all attending VCs and said, “We knew that Rabindranath Tagore was a genius from this part of the world, but we did not know that N urul Momen was another such.”
In 1955, Malcolm Muggeridge, the world famous critic and the erstwhile editor of the famous British satire-magazine Punch, commented on Nurul Momen after watching his comedy Underneath the Law (which was written only in English), “I Mac Muggeridge, who so often finds that a play which purports to be amusing, isn’t; found this play immensely amusing.” This, from the editor of Punch, is high praise. “Nurul Momen has pioneered the theatre of East Pakistan (later Bangladesh) into a modernism which could very well be compared to European theatre.” Peter Archer, a famous British theatre personality, had commented, “What Nurul Momen did for the modern drama in East Pakistan (Bangladesh), has bestowed him with the honour to be the Father of Theatre of East Bengal.”
When Dhaka TV began in December 1964, he wrote its second play Ondhokartai Alo. He was composer and presenter of the first quiz and magazine show on TV, ‘National Bank Quiz.’ In 1965, he acted in Nemesis on Dhaka TV. Everybody, especially theatre buffs, lauded that performance. He wrote and directed about 100 plays for Radio, TV and stage, especially Curzon Hall of Dhaka University.
He protested against Pakistan government’s directive to ban Tagore songs on Radio and TV in 1967. He also protested against move to reform the Bangla Alphabet replacing it with Arabic or Roman script. He challenged Ayub Khan that Bangla language and litterateurs are more competent than Urdu litterateurs, claiming that no Urdu litterateur could learn and write in Bangla in a stipulated short time. As a result of this challenge, Nurul Momen learned Urdu in three months and wrote and published a huge satirical essay in Urdu ‘Mayneye Khab kiun Dekha (Why did I dream it)’, in the largest Urdu language daily of Pakistan, Jung. In 1966, he wrote a symbolic costume play for children Thik Cholar Poth (The right way to go, mimicking autocracy of Ayub Khan. In this play autocrat Owl is challenged by other timid animals under leadership of Jackal. The word ‘autocrat,’ was used twelve times in that play, which was a great act of courage under martial law. It was not broadcast from Dhaka Radio. Later Rajshahi Radio transmitted it. In 1968, broadcast of a Nurul Momen-play was interrupted for the monthly speech by Ayub Khan. Nurul Momen was vehemently enraged and complained to DG, “A Bangla Nurul Momen-play is definitely nearer to the heart of the people than a monthly speech by Ayub Khan.”
Nurul Momen did not believe in the ideology of united Pakistan and that is why he supported the War of Liberation in 1971. As a playwright, he exposed the inconsistencies and conflicts of his time in his plays through satire and farce. Among his major plays are Rupantor, Nemesis, Yadi Emon Hoto Naya Khandan, Alochhaya, Shatkora As Eider Ontorale, Rupolekha, Bhai Bhai Shobai (a play with only male characters), Eituku ei Jibontate (a play with only female characters), Underneath the Law, We are Brothers All, Is Law An Ass, At the Altar of the Law and Jemon Ichchha Temon, etc.
He received the ‘Best New Playwright Award’ in Kolkata in 1954, Bangia Academy Award in 1961, honoured at India-Pakistan Cultural Conference in New Delhi in 1963, the Chicago University’s International Players’ honour in 1964, honoured by British theatre personalities in 1966, Sitara-e-Imtiaz in 1967 (which he renounced and destroyed in 1971), Medjid Al Makky award in 1968, honoured by drama group Theatre in 1977, Ekushey Padak in 1978, Nasiruddin gold medal in 1979, Chader haat Award in 1988 and Tenasinas award in 1989 for his contribution to literature.
Nurul Momen was an eloquent orator both in the classroom and in public. He spellbound his students and audience with sharp humour and knowledge. While attending Kagmari Conference convened by Maulana Bhashani, Nurul Momen had to return earlier for a stage performance. Mowlana Bhashani was supposed to be the last speaker. But he delivered his speech earlier saying, “If an orator like the professor (pointing towards Nurul Momen) leaves, whom shall I deliver my speech to?”
Nurul Momen was the head of the jury board for All Pakistan Film Festival in 1965; National Drama Festivals of Bangladesh organised by Bangladesh Shilpakala Academy in 1976, 1977, 1978, 1979 and National TV Award in 1976, 1977 & 1978.
He wrote the smallest play of the world also. Its duration is 13 seconds. Its characters are: a signature, a page of a cheque-book and a page of an autograph book.
He wrote the first Bangla Law book Muslim Ain in 1962. His famous essay books are Aloker Jhornadhara, Lest we Forget, Drishti Anyatoro, 21st February etcetera. He penned and directed the 1st drama serial of Bangladesh Betar (Radio), Dekhey Choli and 1st drama serial of Dhaka TV; Bismritii Monikothhay. Nurul Momen cut the cake on the 25th Anniversary of Bangladesh Television on 25th December 1989. n
