A Socio-political History of Marathi Theatre Thirty Nights

by Sathe, Makarand

• ISBN13: 9780199450381
• ISBN10: 0199450382
• Edition: Boxed
• Format: Hardcover
• Copyright: 2015-01-29
• Publisher: Oxford University Press

Author Biography

Makarand Sathe, Playwright/Novelist

Makarand Sathe, an architect by profession, has been writing plays, novels, articles, and films in Marathi for last two decades. His plays have been performed at national and international festivals.

Table of Contents

Preface
Acknowledgements
Introduction by Kumar Ketkar
Volume One
Night One
Epilogue: It so happened
Introduction: First period, 1843 to 1880
First l plays : VishnudasBhave-Sita Swayanvar(mythological plays)
First plays: Mahatma Jyotiba Phule -Truteeya Ratna
First plays: Bookish/historical plays, V.J. Kirtane-'Thorale Madhavrao Peshawe'
Night Two
Initial social plays: Raghunath Shankarshastri Abhyankar -Prabodhvidyutarthat Swair Sakesha
M. B. Chitale-Manorama
First (translated) political play: Deenabandhu Mitra/ V. M. Walvekar -Neeldarpan
Night Three
Introduction-Farces
N. H. Bhagwat-More L.L. B. Prahasan
First period-1843 to 1880: Epilogue
Night Four
Second phase-1880 to 1930: Introduction
Beginning of musicals : Sangeetrangabhoomi: Annasaheb Kirloskar, SangeetShakuntal, and Sangeet Saubhadra
Early orthodox, cultural nationalist prose plays: Narayan BapujiKanitkar: Tarunishikshannatika, Sammativayachakayada
Reformist social plays: Govind Ballal Deval-Sangeet Sharada
Night Five
Beginning of political plays : Shankar Moro Ranade: 'Adhikardan Vivechanaathava Sthanik Swarajya Vataghat'
W. R. Shirvalkar: Rana Bhimdevathava Khara Rajput; B. H. Patwardhan: Ranasimhaani Bakulaathava Prachin Rajyakrantiche Chitra
Tilak and Marathi theatre
Night Six
Political plays of the second phase: Krishnaji Prabhakar Khadilkar, an introduction
Krishnaji PrabhakarKhadilkar : Sawai Madhavrao Yancha Mrityu, Kichakavadh, and Bhaubandaki
Cultural nationalist plays, second stage: Damodar Vishvanath Nevalkar -TarakMarak, Danddhari, Dharmarahasya
Night Seven
The second phase of Khadilkar's plays : Sangeet Manapman, Sangeet Draupad , Sangeet Menaka
Colonial censorship and response given by theatre
Melas and SatyashodhakiJalasas
Some more socio-political plays and discussion of historical plays: N C Kelkar-Totayache band, GovindraoTembe-Sangeet Patwardhan, and Krushnaji Hari Dixit-Raja Satvadhir
Night Eight
Start of experimental theatre: Ram Ganesh Gadkari -Sangeetpremasanyas, Sangeetekachpyala, and Sangeetmooknayak
Diwakar-Mag To Diwa Konta?
Theatre before 1930: Women and female impersonators
Night Nine
A playwright who started many socio-political trends :
Mama Warerkar-Kunjvihari
B. V. alias Mama Warerkar-Hach Mulacha Bap, Sannyasacha Sansar, Satteche Gulam, Turungachya Darat
Night Ten
Plays in favour of armed revolt and a different kind of social reform:
V. D. Savarkar-Ushshyap, Sanyasta Khadaga, Uttarkriya
Plays related to religious tensions and conversions : Shri Shankaracharya Kurtakoti-Gangasammati Athava Hidukaran Manyata
Night Eleven
Initial Leftist Plays/ plays about labour : B. V. Alias Mama Warerkar-Sonyacha Kalas, Madhavrao Narayan Joshi-Sangeet Giraniwala, Ganeshshastri Phatak-MaziJamin
Changes in political theatre after 1920: M. N. Joshi-Sthanik Swarajya
V. S. Khandekar-Rankache Rajya, P.K. Atre-Mee Ubha Aahe
Night Twelve
Some other socio-political currents 1 : K. H. Dixit -Sundarmath; V. H. Aundhkar-Bebandshahi, Agryahun Sutka; Different representation of Gandhism-Y. N. Tipnis: Rajranjan; Remembering Tilak-B. N. Pande : Sangeet Punaragaman
Some other socio-political currents 2 : VasudevKhare-Ugramangal
G. V. Shetye- Rakshabandhan; Veer Vamanrao Joshi's Discussion plays: Dharmasinhasan, Ranadumdubhi
Second period, 1880 to 1930: Epilogue
Night Thirteen
Third period, 1930 to 1955: An introduction
Next stage of modernity and professionalism: S. V. Vartak-Andhalyanchi Shala
Next stage of bahujan theatre-A Fresh Breath of Freedom-Ambedkari Jalsas
Middle-class escapist theatre: N. S. Phadke -Yugantar
Night Fourteen
Prabodhankar K. C. Thackeray-Taklel Por, Khara Brahman
V. V. Shirwadkar-Dusra Peshwa
Political plays after 1930: D. N. Dhikhare-Aathe Sal; G. K. Bodas-Pujya Gandhiji; An important Gandhian play: G.Y. Chitnis-Nava Payeek
Night Fifteen
Plays on women's issues after 1930: K.P. Khadilkar-Sangeet Bayakanche Band, P.K. Atre -Gharabaher, Jag Kay Mhanel
M. G. Rangnekar-Kulwadhu; One remarkable feminist play :B. V. Warerekar-Bhumikanya Sita
Third Period-1930 to 1955: An epilogue
Volume Two
Night Sixteen
Prologue: Post-Independence Period
Vigorous energetic theatre: Introduction to the Working Class theatre
Anna Bhau Sathe-Inamdar
Anna Bhau Sathe-Nave tamashe
Gavankar-Swargalokchabatmidar
Night Seventeen
Rashtrasevadal Kalapathak : An introduction
VasantBapat-Sarvaklayan; P.L. Deshpande-Pudhari Pahije
NiluPhule-Yera Gabalyache Kaam Nohe; Ram Nagarkar, Dada Kondke-Laal Cheenchya Aakramanacha Farce; Jaywant Dalvi-Vatvaghool
Night Eighteen
First phase-1950 to 1985: An introduction
The playwright who woke up Marathi theatre that was trapped in entertainment and psudo-sentimentality with a start and forced it to grapple with reality: Vijay Tendulkar-Shrimanta
Night Nineteen
Four pillars of entertainment oriented commercial middle class Marathi theatre : One: Bal Kolhatkar-DuritancheTimirJao
Two : P. L. Deshpande (First Phase)-Tuze Aahe Tujpashi
Three: Vasant Kanetkar (First Phase)-Vedyachegharunhat
VasantKanetkar-Prema tujharangakasa, RaigadalaJeva Jag Yete, Ashrunchi Zali Phule
Four: V. V. Shirwadkar-Natsamrat
Night Twenty
Vijay Tendulkar (The Second Stage)-Gidhade
Vijay Tendulkar-Shantata! Court Chalu Ahe
A remarkably experimental playwright : Khanolkar-Ek Shunya Bajirao
Khanolkar-Avadhya
Night Twenty-One
The second stage, 1965 to 1975-80: An introduction
Vijay Tendulkar (The Third Stage) -Ghashiram Kotwal
Vijay Tendulkar-Sakharam Binder
Night Twenty-Two
Playwrights who took experimentation to the next level:
Mahesh Elkunchwar- (The First Stage) Introduction
Mahesh Elkunchwar -Garbo, Vasanakand, Party
Mature political thetare : G.P. Deshpande (The First stage) -Udhvasta Dharmashala
Night Twenty Three
Satish Alekar (The First Stage) -Mahanirvan
Satish Alekar-Begam Barve
Satish Alekar -Mahapur
AchyutVaze -Chal Re Bhpalya Tunuk Tunuk
Volume Three
Night Twenty Four
Commercial theatre at the next stage: Jayawant Dalwi (The First Stage)-Sandhyachhaya, Barrister
JayawantDalvi-Suryasta
Kanetkar (Second stage)-Beimaan; P.L. Deshpande (The Second Stage)-Ti Phularani
Night Twenty Five
Incisive Political theatre-Dalit theatre : An introduction
M.B. Chitnis-Yugayatra; B. S. Shinde-Kalokhachya Garbhat; Premanand Gajvi-Ghotbhar Pani, Devnavari
PremanandGajvi-Tanmajori; Texas Gaikwad-Amhi Deshache Marekari; Ramnath Chavan-Sakshipuram, Baamanwada
Datta Bhagat-Khelia, VataPalwata
Night Twenty Six
The third stage, 1975-1985: An introduction
Vijay Tendulkar (Third Phase)-Kamala, Kanyadan
Night Twenty Seven
Mahesh Elkunchwar (Second Phase)-The Trilogy of 'Wada Chirebandi': An introduction
Mahesh Elkunchwar: Trilogy-Wada Chirebandi, Magna Talyakathi, Yugant
Night Twenty Eight
Ratnakar Matkari -Lokakatha 78; P.L. Deshpande (Third Phase) -Teen PaishachaTamasha
Jayawant Dalvi (Second Phase)-Purush
Night Twenty Nine
G.P. Deshpande (Second Phase)-Andharyatra
G. P. Deshpande (Second Phase)-Satyashodhak
Satish Alekar (Second Phase)-Dusara Samna, Atireki
Night Thirty
Post 1985: Contemporary theatre: Some important currents and Epilogue
References
Bibliography
Index
About the author