Writer: Suresh Jairam Director: Arun Nalavde Artist: Varsha Usgaonkar, Raghavendra Kadkol, Sagar Talshikar. Sahi Re Sahi Marathi Natak Free Download - DOWNLOAD dc4e8033f2 Tags: Sahi Re Sahi Marathi Natak Full Bharat Jadhav Video Songs, Video, Sahi Re Sahi Marathi Natak Full Bharat Jadhav bollywood movie video, 3gp Sahi Re Sahi Marathi. This Natak's whole focus is Bharat Jadhav. Sahi re sahi is a marathi play which oscillates between a comedy,.
Ghashiram Kotwal
Directed by
Jabbar Patel
Written by
Vijay Tendulkar
Ghashiram Kotwal is a Marathi play written by playwright Vijay Tendulkar in 1972 as a response to the rise of a local political party, in Maharashtra.[1][2] The play is a political satire, written as historical drama. It is based on the life of Nana Phadnavis (1741–1800), one of the prominent ministers in the court of the Peshwa of Pune and Ghashiram Kotwal, the police chief of the city. Its theme is how men in power give rise to ideologies to serve their purposes, and later destroy them when they become useless. It was first performed on 16 December 1972, by the Progressive Dramatic Association[3] in Pune. Jabbar Patel's production of the play in 1973 is considered a classic in Modern Indian Theatre.[4]
Ghasiram Kotwal play at Bharat Bhavan Bhopal
4Original cast and crew
History[edit]
The first show of this play was done on 16 December 1972 at Bharat Natya Mandir in Pune. The play saw a huge controversy and success in the following years. It made the trip to Europe in the year 1980. Later in the year 1986, the group also staged plays in US and Canada. They also traveled to Russia, East Germany, Hungary etc.[5]
Tendulkar based his play on a 1863 story by author-historian Moroba Kanhoba who tossed together history and fiction to write Ghashiram Kotwal and saw it as something of a simple morality play.[6]
Synopsis[edit]
The play begins with an invocation to lord Ganesha. Then the Brahmins of Pune introduce themselves and we can see the morally corrupt state of affairs in Pune. Nana Phadnavis who is the Diwan (Chief Secretary) of Pune is also corrupt and visits the lavani dancer. Ghashiram is working with the lavani dancer. Ghashiram being a Brahmin goes to collect alms at the Peshwa's festival the next day. However he is ill-treated there and is charged with pick-pocketing and imprisoned for the offence. He then decides to take revenge. So the play continues on to reach the next part of this play.
Ghashiram barters his own daughter to get the post of Kotwal (police chief) of Pune from Nana. Having got the post he begins to enforce strict rules in the city. He starts asking for permits for everything and starts throwing people in jail for the smallest offences. In the meantime, Ghashiram's daughter is impregnated by Nana, and dies during childbirth. The situation goes out of hand when a few people in the jail die from suffocation. The Brahmins then complain to the Peshwa. The Peshwa summons Nana who orders Ghashiram to be killed in the most inhumane way possible.
Style[edit]
The play is notable for the use of the 'Tamasha' form in Marathi folk theatre. Singing and dancing are used here to good effect. 'Abhangas' (devotional songs) are mixed with 'Lavnis' (love songs).
Original cast and crew[edit]
Ghashiram Savaldas: Ramesh Tilekar
Nana Phadnavis: Mohan Agashe
Sutradhar (Narrator): Shreeram Ranade
Singers: Anand Modak, Ravindra Sathe, Chandrakant Kale
Music: Bhaskar Chandavarkar
Dance: Krishndev Mulgund
Director: Jabbar Patel
Musicians[edit]
Music: Bhaskar Chandavarkar
Ravindra Sathe - manjiri/tal
Chandrakant Kale - Chipali
Ashok Gaikwad - Dholaki/Tabla
Prabhashankar Gaikwad - sundri
Shrikant Rajpathak - Mrudung
Shyam Bhende - Harmonium[7]
Controversy[edit]
Like many of Tendulkar's plays, this play created a lot of controversy because it offended the ChitpavanBrahmin community and that it showed the statesman Nana Phadnavis in a bad light. Hence it was temporarily banned in the state.[8]Shiv Sena leader Manohar Joshi, also a Brahmin, was in the forefront of the anti-Ghasiram agitation in Mumbai, and the party stopped the staging of the play in the metropolis in 1971-72.[6][9]
The play was based on historical facts.[10] Ghashiram was a North Indian Brahmin, a resident of Aurangabad, who was appointed as the Police prefect of Poona on 8 February 1777 and continued to hold officer till his death which took place on 31 August 1791 under violent circumstances. He had earned Nana's confidence by his faithful service during the critical times that followed the Peshwa Narayan Rao's murder. He enjoyed the full trust of Nana Phadnavis and his administration was notoriously worse than that of his predecessors. He was the man who had been appointed to watch the movements and plans of Raghunath Rao and his family and he reported to Nana whatever suited his purpose. He had under him a large body of unscrupulous spies, everyone possessing ample means of harassing people in consequence of which the word Ghashiram has become a permanent synonym for oppression and tyranny. The rule of Ghashiram was cruel and tyrannical.[11] There is no historical evidence to support the portrayal of Nana Phadnavis as depicted in the play.[6]
Film adaptation[edit]
The play was adapted into a Marathi film, Ghashiram Kotwal (1976), which was the debut film of actor Om Puri. The main characters were played by Prakash Belawadi and Mohan Agashe. The film's screenplay was written by Vijay Tendulkar. The film was directed by K. Hariharan and Mani Kaul in cooperation with 16 graduates of the FTII.[12]
Collected Plays in Translation: Kamala, Silence! the Court Is in Session, Sakharam Binder, the Vultures, Encounter in Umbugland, Ghashiram Kotwal, a Friend's Story, Kanyadaan. New Delhi, 2003, Oxford University Press.ISBN0-19-566209-1.
Vijay Tendulkar's Ghashiram Kotwal: a Reader's Companion. M. Sarat Babu, Asia Book Club, 2003. ISBN81-7851-008-1.
Vijay Tendulkar's Ghashiram Kotwal: Critical Perspectives. Vinod Bala Sharma and M. Sarat Babu. 2005, Prestige Books, New Delhi. ISBN81-7851-002-2.
P. Dhanavel, 'Subversion of Values in Tendulkar's Ghashiram Kotwal,' Voice, Vol.3, No.3, (June 2005),pp. 84–92.
References[edit]
^'Indo-American Arts Council, Inc'. Iaac.us. Retrieved 2012-11-06.
^'पीडीए अर्थात Progressive Dramatic Association बद्दल काही …'. 2010-06-06.
^https://web.archive.org/web/20071211192140/http://www.4to40.com/art/print.asp?id=54. Archived from the original on December 11, 2007. Retrieved December 15, 2007.Missing or empty |title= (help)
^'घाशीराम' आनंदपर्व by Anand Modak
^ abc'Reign of tyranny'. www.telegraphindia.com. Retrieved 2019-08-12.
^'घाशीराम' आनंदपर्व
^''My writing has always been honest', Interview with Vijay Tendulkar'. The Frontline. Archived from the original on 2012-02-20. Retrieved 2012-11-06.
^'Rebel playwright Vijay Tendulkar takes a final bow'. The Economic Times. 2008-05-20. Retrieved 2019-08-12.
^'Journal : The Historical Ghashiram Kotwal'. 2012-04-22.
^Tiwari, Shubha, Editor; Sharma, Ashok Kumar (2007). Contemporary Indian dramatists Chapter 6, Ghasiram Kotwal, a study in the. New Delhi: Atlantic Publishers & Distributors. pp. 50–55. ISBN9788126908714.
^'My writing has always been honest'. frontline.thehindu.com. Retrieved 2019-01-08.
External links[edit]
Ghashiram Kotwal on IMDb
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Ghashiram_Kotwal&oldid=932776836'
(Redirected from Natya Sangeet)
Sangeet Natak
Ghashiram Kotwal being performed at Bharat Bhavan, Bhopal
Cultural origins
19th century Maharashtra
Sangeet Natak in Marathi language literally means Musical Drama. As the name suggests, this form of drama combines prose as well as poetry in form of songs to convey the story. In a manner, they are very much similar to Musicals. Sangeet Natakas played a vital role in the development of Marathi theater and thus the Marathi cinema as well as Indian film industry.[1] Sangeet Natak start with praise of Lord Natraja which is called as Naandi or Mangalaacharan or Suchakpad usually the famous one 'Panchatunda Nararundamaldhar' from Sangeet Shakuntal. They are popular for use of Indian classical music. The 'Dramatic Music' is called Natya Sangeet, one of the two popular forms of vocal arts in Maharashtra and surrounding states. The other is Bhavageet.
1History
History[edit]
The beginning[edit]
Vishnudas Bhave is considered the founder of Marathi theater. In 1843, his group staged the first public performance of Marathi play Seeta Swayamvar (सीता स्वयंवर). The integration of music in the dramas took place quite late in 1879 when play writer and producer Trilokekar presented his musical play Nal-Damayanti (नल-दमयंती). It was the first musical play on Marathi stage.
But only when Balwant Pandurang Kirloskar (popularly known as Annasaheb Kirloskar) staged his first musical play Shaakuntal, based on Kalidas's play Abhijñānaśākuntalam, on October 31, 1880 in Pune did the trend of Sangeet Natak really start.[2] Kirloskar included 209 musical pieces in his Shaakuntal of 7 acts. They consisted of a mix of Hindustani and Carnatic classical music, and lighter music.
During its early period, Sangeet natak was dominated by religious plays like Sangeet Saubhdra, which is legend in Marathi sangeet natak.[citation needed] The trend changed with coming of sangeet Manapman, which depicts bravery of its hero Dheryadhar and his love with Bhamini which was written by Krushnaji Prabhakar Khadilkar.
Golden age[edit]
The new trend of Sangeet Natakas caught up with the popularity quite quickly. With British Raj then existing in India, Sangeet Natakas were compared with the Operas and thus local Marathi Indians found synonymous recreation. In the blooming times, Sangeet Natakas were mainly based on mythological stories of Mahabharata or Ramayana which would hence easily connect with the masses. They did not cover the complete epics but were limited to only small stories in them.
With popularity & success, experimentation started on stage with abandoning mythological themes and bringing social issues to audiences. Sangeet Sharada, for example, by portraying the feelings of a teenage girl to be married to a widower in his late seventies, brought out a social message. Few dramas, like Kichak Vadh, even agitated the British rulers to the extent that they were banned. Kichak Vadh compared the Britishers with Kichak, an evil character from Mahabharata who tried to dishonour Draupadi. Draupadi was then synonymous with the oppressed common Indian masses.
During the 1960s, another turn came in natya sangeet with the emergence of Jitendra Abhisheki, who was credited with applying simplicity to the complex composition of Natya Sangeet.
Plays[edit]
The recent play Katyar Kaljat Ghusli by Zee studios opened up a new era of musical cinemas. This movie was based on the legendary play bearing the same name. Its music was composed by Jitendra Abhisekhi and sung by Vasantrao Deshpande.
Notable contributions[edit]
Annasaheb Kirloskar who founded the Sangeet Natakas also offered other famous plays like Sangeet Saubhadra and Ramrajyaviyog.
Bal Gandharva'sGandharva Natak Mandali; Vasudeorao Dongre's Dongre Mandali; Pandoba Gurav Yavateshwarkar's Waikar Sangeet Mandali; Janubhau Nimkar and Keshavrao Bhosale's Swadesh-Hita-Chintak Mandali, which evolved into Lalit-Kaladarsha Mandali; and Master Dinanath'sBalwant Natak Mandali were the other main performing companies which were formed in Maharashtra.
Jaymala Shiledar (1926-2013) - Jaymala, her husband Jayaram and daughters Kirti and Lata kept Sangeet natak alive during the lean period of 1960s to 1990s. They stageded 25 new musicals, including 'Ekhadyacha Nashib', Mumbaichi Manasa', 'Anantphandi', and Abhogi through their company,Marathi Rangabhoomi. She was a protege of Bal Gandharva.[3]
Natya Sangeet Maestro[edit]
Dinanath Mangeshkar
List of famous Sangeet Nataks[edit]
To attract the audiences, many of the Sangeet Nataks used to prefix the word Sangeet before their actual name.
Sita Swayamvar
Shaakuntal
Sangeet Saubhadra
Sangeet Maanaapmaan
Matsyagandha
Sanyastkhadga
Ramrajyaviyog
Mruchhakatik (1889)
Sangeet Sanshaykallol
Katyar Kaljat Ghusli (1967)
Shapsambhram (1893)
Sangeet Sharada (1899)
Sangeet Swayamvar (1916)
Devmaanus
He Bandha Reshmache
Moruchi Mavshi
Mandarmala
Geeta Gati Dnyaneshwar
Suwarnatula
Sangeet Vidyaharan
Ekach Pyaala
Bhavbandhan
Madanachi Manjiri
Punya Prabhav
See also[edit]
Further reading[edit]
Marathi book by Govindrao Tembe 'माझा संगीत व्यासंग' (My Study of Music); published 1939
References[edit]
^Kasbekar, p. 52
^'Marathi Natya Sangeet'. Retrieved 2006-07-02.
^'Celebrating Jayaram Shiledar, the legend of Marathi Sangeet Natak' (Dec 6). Times of India. timesofindia.indiatimes.com › City. Dec 6, 2015. Retrieved 26 October 2017.
Reading list[edit]
Asha Kasbekar (2006). Pop culture India!: media, arts, and lifestyle. ABC-CLIO. pp. 52–53. ISBN1-85109-636-1.
Book in Marathi by Govindrao Tembe 'माझा संगीत व्यासंग' (My Study of Music) 1939
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Sangeet_Natak&oldid=927447305'