DOCSLIB.ORG

Vijay Tendulkar's Ghashiram Kotwal As an Epitome of Critique On

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vijay Tendulkar's Ghashiram Kotwal As an Epitome of Critique On Journal of Advances and Scholarly Researches in Allied Education Vol. XV, Issue No. 4, June-2018, ISSN 2230-7540 Vijay Tendulkar’s Ghashiram Kotwal as an Epitome of Critique on Protagonist Ghashiram and Antagonist Nana Dr. Rajesh Vishnu Yeole* Head, Department of English, C. K. Thakur A. C.S. College, New Panvel - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - X - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Aristotle believed that man is not only a social but performing many of his plays on account of also political animal. Therefore, the political ideas reflection of unconventionalapproach towards and intuitions are resulting from the political nature of solving the problems of people and predicament of man. The greed for power, persecution and women in the society.Vijay Tendulkar is considered submission has been a continuous process from as a postmodern playwright who became the antiquity of life and it has increased by leaps and crusader of Maharashtra, without restricting himself bounds in civilized and modernized society. This in scrutinizing the restrains of social realism. power structured relationship has been working effectively at different levels such as domestic, social He immediately jumped into the cauldron of and political. It is a bitter truth that in the cut throat political radicalism and highlights on the hegemony competition for power, reputation, wealth and of people in power and the hypocrisy existing in position people terribly exploit others and use them Indian mindset through his prominent plays. His as mere puppets for their selfish achievements. plays are powerfulembodiment of human foibles with an a apt purpose of enlightenment and Vijay Tendulkar is regarded as a one of the greatest refinement. This paper aims to examine Vijay literarypersonalities amongst the modern Indian Tendulkar‘s play Ghashiram Kotwal as a powerful literature who has successfully reined Indian Drama critique onunscrupulous politicians, policemen and for five decades. He has significantly contributed prostitutes who all join to create a social though his masterpieces and earned him critical disharmony, lawlessness, injustice, adultery, acclaim and popularity amongst readers, audience corruption, confusion and chaos especially in and critics. As an influential dramatist of modern Indian society.The powerful and controversial play time, his works have become classics in the realm of Ghashiram Kotwalis consisting of lot of dance and Indian drama. Tendulkar‘s plays crossed the limits of music. The setting of the drama Ghashiram Kotwal Marathi theatre and are completely responsible for takes us to the eighteenth century Peshwa regime placing Indian drama in the international arena. His in Maharashtra. It is apparent that, through the works are exclusively dealing with themes of public characters of Ghashiram Kotwalas a protagonist importance such as greed for power, exploitation of and Nana Padhnavis as an antagonist the women and hypocrisy and they bear ample evidence dramatist has created resemblance of historical to this fact that he has a very powerful message to personages very successfully.This prominent play be communicated in order reform and transform the analyticallycriticizes on the debauchery and people in the society.Initially, he appeared to be very snobbishness of the ruling class specifically the controversial playwright but his works depicted him Brahmins of Pune, who always regard themselves as an honest artist. He is not only a rebellious but as the guardian of public morality.The play also a courageous personality who is well known as alsocreates a strong protest against the caste a dramatist, screen and television writer, literary system prevalent Indian society. essayist, political journalist and socialreformer as a well as a commentator. He was keenly associated Tendulkar‘s play Ghashiram Kotwal is a multi- with the civil liberties movements especially in layered and it is exclusively based on historical Maharashtra. It also shows his concern for his events. In spite of this, theprimary emphasis is not people and society. As a realist, he rejects to be on history but on contemporary political fooled by romantic concepts of movements. He situations.Therefore, Tendulkar has succinctly on scathingly attacks on the flaws and failures of the blurb of the book Ghashiram Kotwal: A unrealistic movements in his world famous plays. As Reader‟s Companion pointed out:―This is a non- a result, it is found that there is a controversy after historical opera-like legend based on history. www.ignited.in Dr. Rajesh Vishnu Yeole* 189 Vijay Tendulkar’s Ghashiram Kotwal as an Epitome of Critique on Protagonist Ghashiram and Antagonist Nana Ghashiram is an offspring of a specific social prison. Later, he uses his patriarchal power over his situation. This social situation of Ghashiram goes daughter and submits her to Nana Phadnavis in beyond time and place. Although the author exchange of political power. Right from the first entry undertakes all the responsibility of the historical base of Ghashiram into the city of Pune,he has a longing of the episode, he does not intend to express his to combine himself with the corrupt power structures opinion on the Peshwa regime, Nana Padhnavis and of Pune. This is clear in the scene when Nana Ghashiram Kotwal in their so-called authentic life dances erotically with the courtesans, his ankles stories in the relevant history‖. (20) sprain and Ghashiram waiting for a chance to find legitimate position clutches the opportunity to Hence, the playwright minutely examines various achieve favour to Nana‘s predicaments and offers his illnesses such as a corruption, vanity, greed for back as a support for Nana. power present in modern society with its utter villainy carried out by men without any repentance and In the play, the protagonist GhashiramKotwal buys goodness.As far as the present drama is concerned, power through sex. He scarifies the virtue of his it is effectively woven around the paradigms of dearest daughter in the altar of worship of power. political situation where power is defined horizontally. Like a typical tragic hero he suffers from imprudence It has been rightly pointed out by and fails to have an integrated view of the truth of SamikBandhyopadhya as:―In terms of individuals life. Therefore, it remarked about predicament of from humiliation to revenge in assertion to eventual tragedy of Ghashiram as: ―No one should pity victimization played out against the background of GhashiramKotwal because his unmarried daughter moral and political decadence and degeneracy, with died when he was pregnant‖ (GK 407). sexuality impinging on strategies of power‖.(Samik 587). Having purchased power through sex, Ghashiram wanders thoughtlessly. ―The way a wounded tiger It is observed that intrigues and counter intrigues becomes addicted to blood, so the Kotwal has along with evil strategies are playing crucial role in come to love the smell‖ (GK 407). Ghashiram‘s the political game where people are well as final surrender to angry Brahmans and his characters become not only pawns but also puppets. reconciliation with his lot puts forth his belated Tendulkar has beautifully carved out a period of realization of his sin and repentance. Ghashiram Peshwa regime as its background and in order to like a typical tragic hero suffers from personal depict evils of greed for power.He has successfully hamartia which ultimately leads to his terrible ruin employed two prominent historical characters such and destruction in the play. as Nana as a Satan and Ghashiram only to condemn the brutality, innocuous practices in order to It is clear that elements of modern politicians are amalgamate power which ultimately leads to their beautifullywoven into the texture of the play and is utter ruin and destruction. The salient features of reproduced in the characters of Ghashiram and politics as a profession are hatred, immorality, Nana respectively. The bitter truth is that power hypocrisy, jealousy, corruption and greed for power makes a man blind and overwhelmed he thinks in and chair. vain that he could never be brought down. Finally, misused power boomerangs in the form of common Tendulkar‘s vivid description of politics and man‘s wrath and destroys him. Nana as an politicians are not features of Peshwa regime alone embodiment of Iagois an artful politician who has but a general prodigy. Criminalization of politics is mastered the power game. Thus, he operates his one of the burning topics of argument and analysis in unlimited power in such way that he acquires what modern times. It is believed that the network he wants and always reminds a winner. At the between politicians and criminals is an ancient beginning, he uses his power for lecherous deeds malady. Therefore, the play Ghashiram Kotwal without any morality. Then, he authorizes throws light on this deadly relationship between Ghashiram and uses him as a pawnin his evil politicians, criminals, policemen and prostitutes who strategies. He also uses power to victimize his are actively engaged in bombarding a terrible war preys and to hush up everything clearly. against peace, morality, honesty and justice. As a Therefore, Neela Bhallain her prominent work result, S. G. Bhanegaonkar in his work ―Depiction of about the power game played by Nana as a politics, power and prostitution in Ghashiram Kotwal‖ monster and GhashiramKotwal succinctly remarks: about the evils of power politics suitably points out:―This
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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • History & Political Science
    MT Seat No. 2018 .... .... 1100 MT - SOCIAL SCIENCE (73) History & Political Science - Semi Prelim I - PAPER II (E) Time : 2 hrs. 30 min MODEL ANSWER PAPER Max. Marks : 60 A.1. (A) Choose the correct option and rewrite the complete answers : (i) Sant Tukaram film was shown in the International Film Festival at 1 Paris. (ii) Shridhar Vyankatesh Ketkar edited 23 volumes of Maharashtriya 1 Dnyankosh. (iii) Natural potholes of Rajan Khalage are located at Nighoj in Maharashtra. 1 (iv) The wooden dolls made in Maharashtra are known as Thaki. 1 A.1. (B) Find the incorrect pair in every set and write the correct one. (i) Kusumagraj - movie on saint Tukaram 1 Kusumagraj play on Shakespeare's 'King Lear' - Natsamrat. (ii) Balambhat Deodhar - Gold medalist in wrestling 1 Balambhat Deodhar was physical trainer of Bajirao Peshwa. (iii) Chhatrapati Shivaji Maharaj Vastusangrahalay - Nashik 1 Chhatrapati Shivaji Maharaj Vastusangrahalay - Mumbai (iv) Kachkavadya - Marbles 1 Kachkavadya is the name of Indian Ludo. A.2. (A) Complete the following concept maps. (Any Two) (i) 2 Volume of knowledge Help in accessible to satisfying their readers curiosity Benefits of Encyclopaedia Make existing knowledge easily Provide accessible to fundamental Highlight the research scholarship information on areas, which have not and researchers any topic yet received enough attention 2/MT PAPER - II (ii) 2 Pune Vadodara Kolhapur Shri Shiv Chhatrapati Kreeda Sankul Vyayam Kashbag Shala Talim Training centres for wrestling Swarnim Kreeda Gujarat Vidyapeeth Sports Hanuman Vyayam Prasarak Mandal Gandhinagar Patiyala Amaravati (iii) Ganpatrao Joshi 2 Marathi Ganpatrao Bodas Stage artists of the Chintamanrao Kolhatkar By-gone Era Narayanrao Rajhamsa (Bal - gandharva) Keshvrao Bhosale A.2.
    [Show full text]
  • Misusing Political Powers for Fulfilment of Lusty Desires Leading to Victimization Based on Caste, Class and Power Politics
    (RJELAL) Research Journal of English Language and Literature Vol.4.Issue 1.2016 A Peer Reviewed (Refereed) International Journal (January-March) http://www.rjelal.com; Email:[email protected] RESEARCH ARTICLE MISUSING POLITICAL POWERS FOR FULFILMENT OF LUSTY DESIRES LEADING TO VICTIMIZATION BASED ON CASTE, CLASS AND POWER POLITICS SURETE Research Scholar Mewar University Chittorgarh, Rajasthan ABSTRACT Man’s hunger for power and status is not new. In his race for power and fame he sacrifices even his blood relations. Present paper highlights the same fact by preseting a review on Vijay Tendulkar’s play Ghashiram Kotwal, where Ghashiram sacrifices his own daughter and makes a deal with Nana Phadnavis and becomes the kotwal of Pune just to get power and to take revenge of his insult. This results into victimization of people which in turn leads to his destruction as well as his own daughter’s life also gets sacrificed in this power game. Keywords : power politics, victimization, misuse of power, harassment, sacrifice, power game. ©KY PUBLICATIONS Man being a political animal is always a controversial drama full of dance and music. This hungry for power and status and his struggle for play takes us back into the eighteenth century when power, tyranny, sufferings and submission has been there was Peshwa rule in Pune. The play features a non stop process since ancinet times . In the the Peshwa’s chancellor Nana Phadnavis and power game man is either a captive to others or exposes the aristocracy of the ruling class, the captivates others. This relationship based on power Brahmins of Pune, who consider them to be the operates at different levels; social, political and custodians of public morality.
    [Show full text]
  • Issue of Violence and Oppression in the Works of Vijay Tendulkar
    Available online at http://www.journalijdr.com ISSN: 2230-9926 International Journal of Development Research Vol. 07, Issue, 07, pp.14196-14198, July, 2017 ORIGINAL RESEARCH ARTICLEORIGINAL RESEARCH ARTICLE Open Access ISSUE OF VIOLENCE AND OPPRESSION IN THE WORKS OF VIJAY TENDULKAR *Sumit Kumar Research Scholar, Ch. Devilal University, Sirsa(HR) ARTICLE INFO ABSTRACT Article History: In the Post-Independence era, the patterns of Indian English Drama underwent a drastic change. Received 05th April, 2017 Theatrical activities were organized and it accumulated a new force with the lively contribution of Received in revised form the dramatists like trio of Badal Sircar, Vijay Tendulkar and Girish Karnad. Vijay Tendulkar 27th May, 2017 made his place as a Marathi writer but he had modified the shape of Indian Drama with the Power Accepted 26th June, 2017 of his pen to represent the issues that are temporal as well as timeless. He is almost fascinated by st Published online 31 July, 2017 the interplay and functioning of various forms of violence as an essential need of humanity in all forms of social relations. Tendulkar’s drama highlights the complexity of human relationships and Keywords: contains a latent critique of modern Indian society, Tendulkar’s plays like Shakespeare’s plays are neither moral, no immoral in tone but may rather be seen a moral. Tendulkar’s take on violence is Gender violence, matter-of-fact. Gender violence of 'Sakharam', gave way to political violence. Political form of Cruelty, violence depicted in his most noted play ‘Ghashiram Kotwal’. A political satire, created as a Humanity, musical drama set in 18th century Poona.
    [Show full text]