• In 2016,A cheque of Rs. 25,000/- was donated on behalf of Alumni Association to "Hitoishini" working for breast cancer survivors on 14/12/16.
• In 2016,A cheque of Rs. 25,000/- was donated on behalf of Alumni Association to "Arunima Hospice" working for HIV positive children on 14/12/16.
• In 2015, A cheque of Rs. 25,000/- was donated on behalf of Alumni Association to ‘Sahamarmi’ a home for the aged suffering from Dementia and Alzheimers disease on 22/08/15.
• In 2015, A donation of Rs. 25,000/- was made to ‘ Khardah Gour Swarup Chatra Kalyan Society’, a welfare home for destitute boys on 22/08/15.

• In 2014, a lecture series on "Emerging Trends in Science and Technology" was conducted.

• In 2014, a lecture series on "Emerging Trends in Science and Technology" was conducted.

Mandalika Memorial Lecture 2016 (held on 28/11/16)

Topic: Into An-‘other’ script: Ibsen in Bengal

Speaker: Dr. Tapati Gupta, Professor (retired) and former HOD of English, Calcutta University

Venue: Lecture delivered at Lady Brabourne College Alumni Association

The tradition of translating and adapting Western drama for the Bengali stage had started as early as the nineteenth century with plays by Shakespeare being translated and performed. The trend went on throughout the next century with plays by Shakespeare as well as Ibsen, Brecht, and Chekhov being adapted for the Bengali stage...

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To conclude, one should point out that drama performance, in order to have a strong impact on social conscience, should speak to the culture of the historical moment. The same play should therefore be adapted to suit the ethos of the contemporary times. The theatrical mise-en-scène should also be adapted to the social, ethnic, and political habitat of the times.[1] “Bohurupee’s “Putul Khela”, an adaptation of Ibsen’s “Doll’s House” is …drama at its best.” (The Indian Express, 7 November 1961) . With Tripti Mitra as Bulu(Nora) and Sombhu Mitra as Tapan (Torvald)and Kumar Roy as Dr Roy (Dr Rank) the audience and critics were so mesmerized by the acting that the theme was taken for granted and did not elicit the expected comments. [2] Swapan Majumdar, ‘Dashaker Byabadhane Dashachakra See also Bishnu Basu, ‘Dashachakra & Ganashatru’, Natyachinta, Ibsen issue, 2006, pp.341-351 [3] BIshnu Basu ,Ibid. points out that after a gap of a decade, the political scenario had changed considerably: the rise of extortionists among the Marxists, dissension in the ranks of the Marxists, problems within India’s bourgeoisie administrators, the unexpected Indo-China border conflict initiated turmoil in people’s complacency. In the media the left-wingers started a volley of attack on the bourgeoise and as a result were considered enemies of the country. The question arose as to who are the actual enemies. What Ibsen wrote 80 years ago and in a far away land about the ‘brute majority’ became palpable in our neighbourhoods. Mitra’s production became the eye of a storm among those who perceived themselves in it. Mitra had acted as Stockmann 4 times altogether but only in 1962 the ruling party did not carry any reviews or notices anywhere. Perhaps that is why Mitra’s representation as Stocmann-Purnendu was most explosive in 1962.