Aayushi International Interdisciplinary Research Journal (AIIRJ) Vol - VI Issue - IV APRIL 2019 Peer Review e-Journal Impact Factor 5.707 ISSN 2349-638x Some Prominent Playwrights In The Marathi Theatre Manish Surendrarao Gomase, School of Language, Literature and Culture Studies, SRTM University, Nanded – 431606, Plays that king and others had seen for entertainment There is a pivotal place to the living traditions and edification of the royal household and courtiers. which have a natural flow in the social system of Further Bhave himself performed dramatic Maharashtra. The traditional art forms undoubtedly performance in other parts of Maharashtra and was reflect the ideals of the society, its determination to applauded for his task. He is a „pioneer and father of survive, its ethos, emotions, fellow-feelings, and the Marathi Theatre‟ (Internet Entry) of other aspects. The art of singing has its own entertainment as well as the professional theatre. prominence in community and naturally songs and Balwant Pandurang Kirloskar: art of singing and acting occupy place in the Kirloskar saw both traditional and traditional theatre forms. Traditional music of the proscenium type of plays and theatre. His Shakuntal theatre seems to be an expression of the feelings of helped to flourish the Marathi sangeet natak to an the society. A theatre represents the various entities unprecedented level of artistry. The performance of of the society giving the fictional realities of human Shakuntal by Kirlosakar was actually an act of situations, problems, feelings, emotions and reclamation of the lost heritage and the strong signs relationship. It conveys a picture of life not the of the Western influences. It answered the cultural picture that is actually true, but a picture that has its needs of the people. The nature of the lyrics and own kind of truth which is not abstract but a concrete melodies, their place in the dramatic action of the and dramatic presentation may allow the individuals play and their relationship with the spoken word and to experience imaginatively the lived meaning of a stage design show the features of the elements of piece of life. It is a parallel world. modern drama. This cast light on the fact that he The Marathi Theatre began in the mid 19th elevated the Marathi Theatre and drama to century when Bhave started writing his plays and considerable extent. performed in the palace of the King of Sangali. The Ram Ganesh Gadkari: beginning was not grand because of lack of required A rich imagination, lively response to every chores to perform however, it was considerably good aspect of human life and vibrant poetic spirit are core however, the first half of 20th century witnessed ingredients of Gadkari‟s play writing. He is revered changes in social, political, cultural and literary especially for his contribution to enroot his humour spheres. The death of Tilak, the freedom movement, in theatre and literature. He appeared with Gandhi‟s work, cinema, and the World Wars affected Premsanyas as his maiden play performed by the economy, morality, life style and other spheres that Maharashtra Natak Mandali in 1912. The dual found place in the plays which resulted in the change between an imaginary world and a practical world is of nature of genre. The influence of Ibsen has a thematic concern of the play. Ekach Pyala, „the imparted the Marathi theatre novelty in presentation greatest tragedy in Marathi‟(Internet entry), is a and creation. The impact of these factors brought the milestone work in the sense that it is thought to be drastic changes in the theatre and begot the Modern the first experimental play in which he brought Theatre. various moods, forms and concerns and combination Vishnudas Bhave: of tragic and comic elements. It illuminates the tragic The Marathi theatre and drama starts with effect of alcoholism on a man and his family. Vishnudas Bhave‟s Sita Swayamwar staged in 1843 Punyaprabhav, Bhavbandhan and Rajsanyas also with the active support of the King of Sangali, reveal the contemporary social scene. V. B. Chintamanrao Patwardhan, it came as response to Deshpande has asserted, „Gadkari can‟t be forgotten order to create a refined version of the Bhagwat Mela Email id’s:- [email protected],[email protected] I Mob.08999250451 Page No. website :- www.aiirjournal.com 42 Aayushi International Interdisciplinary Research Journal (AIIRJ) Vol - VI Issue - IV APRIL 2019 Peer Review e-Journal Impact Factor 5.707 ISSN 2349-638x at least till the Marathi language, literature, play and Brieux. Atre recognized the mob psychology and human beings exist.‟(Deshpande, 18) accordingly produced his plays which brought Shridhar Vinayak Vartak; success and rendered „pioneer of professional The first modern play in Marathi is writing‟ (Gokhale, 81) call to him. Andhalyachi Shala by Shridhar Vinayak Vartak, V. V. Shirwadkar: which was performed on 1 July 1933 by He is the Jnanpith Award winner in 1988 and Natyamanwantar in Ripan Theatre, Mumbai. It one of Maharashtra‟s senior most and best loved marked the advent of new trends and tendencies in poets, belongs to the main stream who writes poetry the composition as well as the presentation of the under the pseudonym Kusumagraj and plays under drama. Andhalyachi Shala revolutionized the entire his own name. His most outstanding play set up of the Marathi Theatre, making the social Natasamrat carries „clear echoes of King Lear’. realism the new watch world. The play itself seems (Pandey Sudhakar and Taraporewala Freya, 14) It is to attempt to establish its credentials as a modern the harrowing tragedy of an old time classical actor. work in a lugubrious manner. Its presentation Shirwadkar‟s Natasamrat is crystallized from reflected all the characteristics of the modern play. It Shakespeare‟s King Lear, tragedy of error judgment; is an argument that as all human beings have made he has applied his approach in his the play to make a mistake in their life, they deserve forgiveness to real scene seen in the society at all times. He change and to defend themselves rather than profoundly contributed to the Marathi Theatre with condemn them. It is certainly modern attitude to his others plays –Durche Dive, Dusara Peshawa, avail a chance to change oneself who wishes to come Vaijayanti, Vij Mhanali Dhartila, Ek Hoti Waghin, out of degraded sphere. This imparts the fact that it is Mukhyammanti, Kaikayi and Anand. These plays obviously first modern play. Takshashila written in incorporate puranic (myth), historical, social and adaption of Ibsen‟s The Warriors of Helgeland and political issues that show his variety in handling the Lapandav are Vartak‟s other significant works. S. V. themes. He has employed every manipulative Vartak really moulded the nature of Marathi drama technique in his power to force us to see the world. and theatre. He along with Natyamanwantar fostered Purushattam Laxman Deshpande: modernity to the Marathi theatre. He stands as a solitary island in Pralhad Keshav Atre: contemporary Marathi Theatre and has many He was a multifaceted Indian figure. As a adaptation and very few independently written plays playwright his versatility could be observed in his to his credit. The Goverment Inspector is written in treatment of pure force as well as stark melodrama adaptation of Gogal‟s play. In 1956, he came out given to subject matters. His play Sashtang with Tuze Aahe Tuzyapashi, unique satire, in which Namaskar is hailed as the first original modern play an austere Gandhian Acharya fights a battle of ideas which revolves around an idiosyncratic family and with an old epicuse steeped in the ways of princely its friends. K. Narayan Kale commented on the play, India. His Batatyachi Chawl presents the middle „Not only does Sashtang Namaskar have literary class characters living at Batatyachi Chawl in value but historical importance too, for having given Mumbai. The specimens of bourgeoisie are ridiculed Marathi drama completely new turn.‟ (Kale, 262.) but at the same time their sense of values is praised. Bhramacha Bhopla is pregnant with verbal wit, Varyavarchi Varaat, Watwat Watwat, Teen clever imagination, sharpness and cleverness of Paishacha Tamasha and Raja Oedipus are some dialogue that came on the stage as a genuine gift by other popular plays by him. P. L‟s plays really have a him to the Marathi theatre. His inclination towards hilarious touch that evokes laughter from the bottom comedy writing has often had a happy ending in spite of heart. of adverse situation and tension in the beginning and Vijay Tendulkar: the middle part is seen in Gharabaher. To Mee He, avant-gardist, has highly individual Navhech and Lagnachi Bedi are two ever–green outlook, vision of life and personal style of writing humorous plays in Marathi. Along with comedies, he that take him to create a powerful impression in the also wrote serious plays on the model of Eugene field of literature and drama. He has rendered a new Email id’s:- [email protected],[email protected] I Mob.08999250451 Page No. website :- www.aiirjournal.com 43 Aayushi International Interdisciplinary Research Journal (AIIRJ) Vol - VI Issue - IV APRIL 2019 Peer Review e-Journal Impact Factor 5.707 ISSN 2349-638x dimension to the post independent Marathi drama. Satish Alekar: He began his career as a dramatist with one-act He is highly individual and subjective writing entitled The House Holder and subsequently playwright of the Marathi Theatre. He makes use of followed by In An Island Called Man and Vultures. traditional Maharashtrian culture as the subject- Silence! The Court Is in Session is a milestone craft matter for his plays. In this respect, Alekar said in his in the Marathi literature. It raises the questions about interview, „In this country, theatre is essentially man-woman relationship that make one speechless.