History & Political Science
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Realism in Vijay Tendulkar's Ghashiram Kotwal (1972)
SJ IMPACT FACTOR: 2.912 CRDEEP Journals Global Journal of Current Research Anamika Gupta Vol. 5 No. 2 ISSN: 2320-2920 Global Journal of Current Research Vol. 5 No. 2. 2017. Pp. 88-97 ©Copyright by CRDEEP. All Rights Reserved. Full Length Research Paper Realism in Vijay Tendulkar’s Ghashiram Kotwal (1972) Anamika Gupta Research Scholar, Department of English & MELs, University of Allahabad, Allahabad. Article history Abstract Received: 08-08-2017 This paper is an attempt to expose the use of realism in the play Ghashiram Kotwal (1972) by Vijay Revised: 12-08-2017 Tendulkar. As society and politics have strongly been highlighted in Vijay Tendulkar’s Plays, this Accepted: 14-08-2017 play also highlights the harsh and bare realities of society, especially those of politics, administration and religion. As a social realist, he presents the black side of humanity in his plays. While dealing Corresponding Author: with the realistic portrayal of the contemporary socio-political senerio, Tendulkar underscores various Anamika Gupta, social and political evils such as hypocrisy, casteism, prostitution, decline of moral and human Research Scholar, values, patriarchy, power game, violence (sexual and political) corruption in politics and Department of English & administration. MELs, University of Allahabad, Allahabad. Keywords: Power, Violence, Power politics, Casteism, Patriarchy, Religion, Corruption, Hypocrisy, Moral degradation, Realism (Political, Social and Psychological). Realism is a movement in art, which started in the mid nineteenth century in France, and later spread to the entire world. Realism entered literature at almost at the same time. Its real objective was to root out what is called romantic in literature and art, to insert what is real. -
Vijay Tendulkar's Ghashiram Kotwal
VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.5 Issue 1 An International Peer Reviewed Journal 2018 http://www.joell.in RESEARCH ARTICLE VIJAY TENDULKAR’S GHASHIRAM KOTWAL : THEME OF POWER AND KNOWLEDGE Mintu Patra (Research Scholar (M. Phil), Mewar University, Chittorgarh, India) ABSTRACT Vijay Tendulkar (1928-2008) is ranked as one of the three maestros of Indian theatre–Girish Karnad and Badal Sircar may be taken as the other two. Of them Tendulkar has been the most prolific and perhaps the most popular playwright among the general theatre-goers—an artist who dedicated himself completely to the cause of theater. Tendulkar has been persistent in incorporating new form and techniques in his theatre to make it both philosophically thought – provoking and aesthetically satisfying. His theatre is appealing both to the common audience and aesthetically satisfying. His theatre is appealing both to the common audience and intellectual theatre –critics. He uses folk forms in modern theatre made waves. He has experienced how in a hegemonic culture people exploit others through different strategies—social, economic and even cultural. It may be said that this knowledge of Tendulkar functioned as a stimulus for him to undertake such themes as love and betrayal, sex and violence, politics and revenge in course of his long career as a playwright. Again the subject of exploitation is so hauntingly present in his theatre that any sensitive reader might find some affinity with the theoretical propositions of ‘power and knowledge’ as enunciated by Foucault in his seminal work Power/Knowledge: Selected Interviews and Other Writings 1972- 1977. -
Vijay Tendulkar's Ghashiram Kotwal
VEDA’S JOURNAL OF ENGLISH LANGUAGE AND LITERATURE (JOELL) Vol.5 Issue 1 An International Peer Reviewed Journal 2018 http://www.joell.in RESEARCH ARTICLE VIJAY TENDULKAR’S GHASHIRAM KOTWAL : THEME OF POWER AND KNOWLEDGE Mintu Patra (Research Scholar (M. Phil), Mewar University, Chittorgarh, India) ABSTRACT Vijay Tendulkar (1928-2008) is ranked as one of the three maestros of Indian theatre–Girish Karnad and Badal Sircar may be taken as the other two. Of them Tendulkar has been the most prolific and perhaps the most popular playwright among the general theatre-goers—an artist who dedicated himself completely to the cause of theater. Tendulkar has been persistent in incorporating new form and techniques in his theatre to make it both philosophically thought – provoking and aesthetically satisfying. His theatre is appealing both to the common audience and aesthetically satisfying. His theatre is appealing both to the common audience and intellectual theatre –critics. He uses folk forms in modern theatre made waves. He has experienced how in a hegemonic culture people exploit others through different strategies—social, economic and even cultural. It may be said that this knowledge of Tendulkar functioned as a stimulus for him to undertake such themes as love and betrayal, sex and violence, politics and revenge in course of his long career as a playwright. Again the subject of exploitation is so hauntingly present in his theatre that any sensitive reader might find some affinity with the theoretical propositions of ‘power and knowledge’ as enunciated by Foucault in his seminal work Power/Knowledge: Selected Interviews and Other Writings 1972- 1977. -
Vijay Tendulkar's Ghasiram Kotwal by Mr. Deepak
Vijay Tendulkar’s Ghasiram Kotwal Deepak Assistant Professor (English, MGCUB) Former, Jr. Research Assistant, Penn State University, USA Ghashiram Kotwal Ghashiram Kotwal is a historical play, and the dates goes back to the rule of Nana Peshwa Violence and Sexual instinct play an important role for the construction of theme and content. Ghasiram, the Kotwal, is embodiment of violence whereas Nana Phadnavis represents sexual urge. Gauri, the daughter of Kotwal, stands for the cruelty against women by men to achieve their target. She is silent victim of violence. Vijay Tendulkar Vijay Tendulkar is one of the most controverisal Indian dramatist. His controversial drama includes Silence! The Court is Session and Sakharam Binder but, Ghashiram Kotwal is considered by many his most controversial play. According to Tendulkar, “Ghashirams are creations of socio-political forces which know no barriers of time and place.” Structure Two-act play Song, dance and music are integral part of the plot construction Story revolves around Ghasiram Savaldas’s rise and fall to the position of Kotwal of Poona and then his death through mob after a plot being hatched by Nana Phadnavis. Acquiring power remains the main thrust play, whereas, who challenged the authorities deserves nothing more than death. Various folk forms like Dashavatar, Khel, Tamasha, Kirtan and Bharud are employed by dramatist to make it more appealing to the regional audience. Moral corruption is depicted when Kotwal exchanges his daughter , Gauri, to Nana for the post of Kotwal. In the end, Nana order a mob lynching of Ghasiram without any hesitation: “Use a thorn to take out a thorn. -
Ghashiram Kotwal’’
‘A Study of Dramatic Devices of Politicking invested by Tendulkar in ‘Ghashiram Kotwal’’ A Seminar Paper by Dr. Uttam B. Parekar (Associate Professor, Ph.D. Supervisor, Head (Dept. of English) Yeshwant Mahavidyalaya, Wardha (M.S.) Date: 25th February 2017 Introduction of the Speaker Name: Dr. Uttam Baburao Parekar Date of Birth: 05-07-1959 Qualification: M.A.(English), M.Phil., B.Ed. & Ph.D. Ph.D. Supervisor Principal Investigator of UGC’s Major Research Project Office Address: Yeshwant Mahavidyalaya, Wardha (M.S.) Creative Pursuits: Writing Short Stories & Plays; Drama Actor, Director; Playing Banjo, Flute & Harmonium Home Address: Prof. Uttam B. Parekar, Sahakar-Nagar, Near Sai- Nagar, Wardha, Ta & Dist. Wardha (M.S.) Mobile No. 09921436640 Email: [email protected] Vijay Tendulkar as a celebrated Marathi Playwright 1- Prestigious Awards 2- Translation Works 3- His Plays: Full Length Plays- 27. One Act Plays- 7 4-Place of Tendulkar in the tradition of Marathi dramatists I-Theatre revived after lapse of ten centuries with the setting up of proscenium in 1874 Kirloskar’s ‘Soubhadra’ and translations of Sanskrit & English Plays in to Marathi Musical Plays II- After 1906 Khadilkar’s plays gave social dimension to the plays e. g. ’Kichak Wadha’ III- After 1935 the Realism of Ibsen, Shaw & Existentialism influenced e.g. Atre’s plays IV- Post Independence Playwrights: Tendulkar, Girish Karnad, Mohan Rakesh, Badal Sircar…Anti-Hero, Alienation, Situation into aesthetic experience, naturalism, Reality through history and myths Brecht’s V-Effect -
Russian Drama in Marath I Polysystem 255
RUSSIAN DRAMA IN MARATH I POLYSYSTEM 255 Chapter VI: RUSSIAN DRAMA IN MARATHI POLYSYSTEM I A brief discussion o,n the theoretical aspect of translation of drama: Before examining the specific trends in drama translation, it is essential to place the main streams in the area of theatre translation within the framework of broader main streams in literary translation theory. It is observed that drama translation generally follows these trends. As we have already discussed in Chapter II, in the last twenty-five years there have been two major conflicting developments in the translation theory. The linguistically-oriented trend considers literary translation as a process of textual transfer. This is an ST oriented approach. In this approach translation scholars draw on recent work in descriptive linguistics. They attempt to grasp systematically the syntactic, stylistic and pragmatic properties of the texts in question. Moving away from comparative textual analysis, attempts are also made to set translations and their reception within the context of the receiving culture. This involves the study of the translations in the TL culture. The focus is not on mere textual transfer, but on cultural mediation and interchange. With regard to the first trend, Bogatyrev in discussing the function of the linguistic system in theatre in relation to the total experience states: Linguistic expression in theatre is a structure of signs constituted not only as discourse signs, but also as other signs. (Bogatyrev 1971:517-30) In a study of the specific problems of literary translation, with particular reference to the translation of dramatic texts, Susan Bassnet states that: In trying to formulate any theory of theatre translation, Bogatyrev's description of linguistic expression must be taken into account, and the 256 linguistic element must be translated bearing in mind its function in theatre discourse as a whole. -
Unit 21 Ghashiram Kotwal
UNIT 21 GHASHIRAM KOTWAL 21.0 Objectives 21.1 Introduction 21.2 Indian Drama 21.3 Marathi Theatre 21.4 Modern Indian Theatre 21.5 Vijay Tenddkat: Life'aad Works 21.6 Let Us Sum Up 21.7 Suggested Rading 21.8 Answers to Exercises 21.0 OBJE- In this Unit, we shall briefly discuss the growth 2nd development of Indian theatre, especially Marathi theatre so that we can undergand Gbashkam Kotwalin its proper cantext. In addition to this, we shall also discuss the intellectual, social and political reasons that Muenced Indian theatre in the fifties and sixties and gave a certain direction to its subsequent development. After reading this Unit carefully, you will be able to: oatline the main trends in Indian drama; describe the development of Marathi theatre; discuss the historical background of the play and outline the Life and works of Vijay TtmdulJcar. 21.1 INTRODUrnON This is last Block in your course. In all the previous blocks, we have dkd Western drama which comes from a different culture, a different tradition. You have studied one-act plays and you have read Shakespeare's Macbefh,a play in five acts ;uPd the three-act plays of Ibsen and Shaw. We shall now turn to Gbashkam Kotwal which is quite different from all the plays you have read so far. Modem Indian theatre has emerged from a different tradition. It is for this reason that we shall discuss Indian and Marathi theatre to give you the introductory background which you will 6nd useful. Vijay Tendullcar, the well-known playwright has written Ghashim Kotwal in Marathi (first published, 1973). -
Chapter I Introduction
CHAPTER I INTRODUCTION While pursuing the study of Hterature in English, the researcher came across the American playwrights like T.Williams and E.Albee. The prescribed plays by T.Williams and E.Albee had been The Glass Menagerie and The Zoo Story respectively. While studying the background of The Glass Menagerie especially with the cultural divide between South and North America, certain parallels between the American and the Indian social structure struck the researcher's sensitivity. That is the sudden transition of financial status within the once affluent class of feudal lords and the tensions and agony arising out of it, the researcher unconsciously started comparing it with the plight of feudal lords in India who suffered something in a similar manner owing to the sudden abolition of 'Tenancy' system, which, in one stroke, transferred the ownership of the agricultural lands from the feudal lords to the tenants. Some landlords were aware of the imminent change and they were prepared for the same. But many others who remained complacent and thereby failed to take note of the changes looming large on the horizon in the new political system i.e. the self-governed India, were caught unawares. They received the crude jolt which left them in a state of shock and bewilderment. They could never recover themselves. Many of them were almost reduced to the level of paupers. This situation was dealt with powerfully and in a unique manner in another play by the newly emerging playwright in 80s,namely, Mahesh Elkunchwar in his play Wada Chirebandi. It won't be out of place to mention a famous novel in English by Manohar Malgaonkar who deals with the similar theme and issue, which was related not with the feudal lords but the former Princely States in India. -
International Journal of English and Studies (IJOES) an International Peer-Reviewed English Journal Vol-1, Issue-2, 2019 ISSN: 2581-8333
SP Publications International Journal Of English and Studies (IJOES) An International Peer-Reviewed English Journal www.ijoes.in Vol-1, Issue-2, 2019 ISSN: 2581-8333 ______________________________________________________ ORIGIN OF INDIAN DRAMA: A SHORT INTRODUCTION ______________________________________________________________________________ Mr. Jitendrasinh Parmar1 Dr. Ishita Sharma2 Bhagwan Mahavir College of Science & Technology, Surat Gujarat, India ______________________________________________________________________________ Abstract: Any study of Indian drama begins with Sanskrit drama, which is purely of Indian origin. The word “Natya” often been translated as “Drama”. The Sanskrit word for play (Nataka) and actor (Nata) are from the root “Nat” which is the prakrit form of Sanskrit “Nrutya” meaning to dance. A Sanskrit drama always opens with a namely or benediction, usually addressed to Ganesh or Shiva for the prosperity of the audience by “Sutradhar” or director. Bharata is historically thought-about to be the daddy within the history of Indian drama. The history of Indian drama is deeply unmoving in classical Indic theatre, which is the earliest existing form of drama and theatre. Key Words: Drama, Indian, Sanskrit, Theatre, History, Natak. Introduction: Drama is that the branch of humanities within which stories square measure acted mistreatment combos of speech, gesture, music, dance and sound. Indian drama and theatre has a vivid history. The history of Indian drama is charming, enigmatic and unbelievable. India has AN autochthonous dramatic tradition, and remains stay unaffected from any foreign influence. Hindu drama was not borrowed or an imitation of any other, but it is the product of native genius. Origin of Indian Drama: History of Indian drama is made with Vedas and Indian epics and has step by step modified with time and remains unaffected by any foreign influence. -
EPIC to POLEMIC Social Change in Marathi Drama 1843-79
EPIC TO POLEMIC Social Change in Marathi Drama 1843-79 Pramod Kale With a unanimity, which is somewhat rare, scholars of Marathi theatre and literature have pinpointed the year 1843 as the most important year in the history of Marathi theatre when Vishnu Amrit Bhave, a Brahmin young man, employed in the personal service of the Raja of Sangli, at his patron's behest staged the performance of Sita Svayambar, a composition written by himself based, as the name indicates, on an episode from the Ramavana. The traditionalists- view this event as a revitalisation of a dramatic and theatrical tradition, which Gondhal, Bharud, and Lalit) and secular cultural performances, (such as the Tamasha) goes-back ultimately to the main-spring-the classical Sanskrit drama of the great poets and the theatre described in such great detail and with such a thoroughness in the Natyasastra by the legendary Bharata. The modemists.' on the other hand, emphasising the absence of dramatic texts in pre-19th century Marathi literature and defining theatre in a more specific way so as to exclude the various related cultural performances mentioned above, look upon this year as marking the very birth of Marathi theatre and drama. The immediate impetus to Bhave's venture had been provided by a visit to Sangli in 1842 by a company of Bhagvat Mela players from the North Kanara district. According to Bhave's own account, the Raja of Sangli, who patronised a couple of their performances thought them to be crude (Obadhobad) and loud or vulgar (Bibhatsa) and asked Bhave to perform "a new Marathi composition with goodly improvements'<. -
The Master Playwrights and Directors
THE MASTER PLAYWRIGHTS AND DIRECTORS BIJAN BHATTACHARYA (1915–77), playwright, actor, director; whole-time member, Communist Party, actively associated with Progressive Writers and Artists Association and the Indian People’s Theatre Association (IPTA); wrote and co-directed Nabanna (1944) for IPTA, starting off the new theatre movement in Bengal and continued to lead groups like Calcutta Theatre and Kabachkundal, with plays like Mora Chand (1961), Debigarjan [for the historic National Integration and Peace Conference on 21 February 1966 in Wellington Square, Calcutta], and Garbhabati Janani (1969), all of which he wrote and directed; acted in films directed by Ritwik Ghatak [Meghey Dhaka Tara (1960), Komal Gandhar (1961), Subarnarekha (1962), Jukti, Takko aar Gappo (1974)] and Mrinal Sen [Padatik (1973)]. Recipient of state and national awards, including the Sangeet Natak Akademi Award for Playwriting in 1975. SOMBHU MITRA (1915–97), actor-director, playwright; led the theatre group Bohurupee till the early 1970s, which brought together some of the finest literary and cultural minds of the times, initiating a culture of ideation and producing good plays; best known for his productions of Dashachakra (1952), Raktakarabi (1954), Putulkhela (1958), Raja Oidipous (1964), Raja (1964), Pagla Ghoda (1971). Recipient of Sangeet Natak Akademi Award for Direction (1959), Fellow of the Sangeet Natak Akademi (1966), Padmabhushan (1970), Magsaysay Award (1976), Kalidas Samman (1983). HABIB TANVIR (1923–2009) joined the Indian People’s Theatre Association in the late forties, directing and acting in street plays for industrial workers in Mumbai; before moving to Delhi in 1954, when he produced the first version of Agra Bazar; followed by a training at the RADA, a course that left him dissatisfied, and he left incomplete. -
6. Entertainment and History
6. Entertainment and History Things that help refresh our minds and give a feeling of happiness are the sources of entertainment. Various hobbies, games, drama-film, writing-reading, etc. are the sources of entertainment. Why do we need Entertainment ? Healthy entertainment of excellent quality is essential for the healthy growth of one’s personality. Entertainment keeps our minds lively and fresh. It may also make us feel physically more energetic. So eventually our efficiency at work improves. Pursuing hobbies and games helps in personality development. In India many festivals, sports, dance-music, etc. were developed as forms of entertainment since ancient times. There are varied forms of entertainment available in the modern period as well. Things to do Make a list of various types of entertainment and classify them into different categories. Entertainment can be classified into two categories, active and passive. Active entertainment anticipates an individual’s mental-physical participation. Practicing of handicrafts and participating in sport activities are examples of active entertainment. Watching a sports match or listening to music or watching a movie are examples of passive entertainment. In this type of entertainment we are not actual participants but only viewers. Things to do Create a chart of active and passive types of entertainment, which are related to history. Folk Theatre Puppetry - Wooden Puppets (Kathputali) : Puppetry – Wooden Puppets Remains of clay dolls have been found in the excavations of archaeological sites of Harappan civilisation as well as sites in Egypt and Greece. It is possible that they were used as puppets. In ancient India materials like wood, wool, leather, horns and ivory were used to make puppets.