There was a time when Quazi Nawshaba Ahmed found herself facing one of the most challenging phases of her life. In the middle of that chaos, theatre entered her world — offering a rare sense of hope and peace just when she needed it most.

The central Paris museum—often compared to Madame Tussauds in London—already features figures of Charles, now King Charles III, and Queen Elizabeth II. Diana, however, had long been absent despite her enduring association with the city where she died in a car crash in August 1997.

In the quiet corners of Alliance Française, a small cluster of canvases invites viewers into a Dhaka that no longer exists — or perhaps one that exists only in memory. In “City of Memories”, Kazi Salahuddin Ahmed turns the familiar chaos of our own Old Dhaka into intimate, abstract landscapes, painted to recall the magic of the city.

The invitation marks a significant moment for Bangladeshi theatre scholarship, placing a local academic voice at one of the region’s most influential platforms for performance research, collaboration and pedagogy.

As a child in art school, I was known to my painting teacher as the student obsessed with landscapes. I might not have bloomed into a remarkable landscape artist, but fast forward to 2025 – after work, I dragged my exhausted self to Dwip Gallery in Lalmatia just to witness the landscape art exhibition they are currently hosting.

Alamgir describes the play as a reflection on the uneven burdens that societies place on their most vulnerable members.

Alliance Française de Dhaka has inaugurated “City of Memories”, a solo exhibition featuring 140 miniature paintings by acclaimed artist Kazi Salahuddin Ahmed. The show opened yesterday, at 11am at the organisation’s Gulshan Gallery.

The play examines four central tensions of contemporary life: mounting pressures, psychological unrest, fragile relationships and profound isolation. Through these elements, “Bhasane Ujan” presents a tightly focused portrait of an individual wrestling with conscience and existential doubt.

“The Soul of Jute” invites visitors to engage with the material’s deep roots in Bangladesh’s heritage and its growing relevance in sustainable design. The exhibition positions jute not only as an agricultural product but as a bridge connecting craft, culture, and tourism—reflecting the work of local artisans and the imagination of contemporary designers.

The ovation was so prolonged that the play paused momentarily before Felton could deliver his first line, “I need a favour.” The moment marked a homecoming for the actor who had grown up on screen as the silver-haired Slytherin, now returning to portray an older, more complex Draco in the stage adaptation.

On November 10, 2025, Batighar Theatre Troupe staged its 26th performance of the political play “Monkey Trial” at the Experimental Theatre Hall of the Bangladesh Shilpakala Academy.

“Kichcha” — a narrative form rooted in moral tales, Puranic legend and everyday village life — dominated the programme. Performers delivered story-based “kichcha” ballads, paik songs and folk dramas, blending myth, ethical reflection and social commentary.

The press conference was presided over by Udichi Central Committee’s Acting President, Mahmud Selim. Among others, speakers included Dr Mokbul Hossain, President of the Rabindra Sangeet Shilpi Sangstha; Mahadev Ghosh, Joint General Secretary of the Coordinating Council of Music Organisations; Sujit Mustafa, President of the Nazrul Sangeet Shilpi Parishad; Kamaruzzaman Bhuiyan, Vice-President of Charan Cultural Centre; Manzar Chowdhury Sweet, Joint Secretary of the Ganasangeet Coordinating Council; Naim Hasan Suja from the Nabanno Festival Celebration Committee; and Tushar Chandan, General Secretary of the Art Schools Alliance.

The talk, titled “A Conversation on Henrik Ibsen and Jon Fosse”, was led by Professor Ahmed Ahsanuzzaman of Independent University, Bangladesh (IUB), who earned his MPhil and PhD in Ibsen Studies from the University of Oslo.

As part of the invitation, She will stay in Nice, France, from 13 November 2025 to 28 January 2026. During her visit, she will receive advanced training in Laban Movement Analysis and other contemporary techniques.

The staging revisits the play’s probing questions of fate, conscience and self-knowledge in a compact, contemporary idiom.

The exhibition featured works from students across all departments and classes, with two rooms of Zainul Gallery filled with sculptures and artworks in diverse media.

Oona Hyland’s show, titled “An Duanaire: Visual Poems of the Dispossessed”, opened Tuesday at the Garden Gallery in Baridhara, marking a milestone in cultural exchange between Ireland and Bangladesh.

It weaves the familiar tale of woodcutter Alibaba, who discovers a hidden treasure, and his brother Qasim, whose greed leads to his demise, into the larger story of Scheherazade. Through her storytelling, Scheherazade saves lives and gradually restores the ruler’s humanity.

Film “Nunshipi” (“Pity Women”), made up of three short films — “Inaphi,” “Tiras”, and “Hunashori”— each telling a separate, heartbreaking story of a working Manipuri woman.