A Socio-Political History of Marathi Theatre: Thirty Nights

A Socio-Political History of Marathi Theatre: Thirty Nights

By: Makarand Sathe (author)Hardback

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Description

Exploring the major trends in Marathi theatre, this three-volume set presents a detailed history of the development of modern Marathi theatre. The work is written in the form of a dialogue between a writer and a clown, where the clown goes on to educate the writer, by narrating to him the history of Marathi theatre, taking him through its inception in 1842 to 1985. Originally written in Marathi, this encyclopaedic work would narrate a social history of Maharashtra and of India as seen through the window of theatre. The narration proceeds through thirty nights, loosely following the structure of Arabian Nights, woven around the question, 'Who am I?' The methodology that Sathe follows is complex but systematic and logical as it is predicated on a sound understanding of both history and culture. He views theatre as a cultural construct shaped by the dialectical interaction between the playwright and the cultural political ethos around. The three volumes present the various stages of the historical development of modern Marathi theatre. The conversations between the writer and the clown take place at night; each night is progressively devoted to the discussion of certain historical stages.

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About Author

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.

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

Product Details

  • publication date: 29/01/2015
  • ISBN13: 9780199450381
  • Format: Hardback
  • Number Of Pages: 1420
  • ID: 9780199450381
  • weight: 3446
  • ISBN10: 0199450382

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