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Shinde Research Paper on Girish Karnad

Shinde Research Paper on Girish Karnad

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A Paper on Girish Karnad to be published shortly in the anthology to be edited by the researcher himself.
A Paper on Girish Karnad to be published shortly in the anthology to be edited by the researcher himself.

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Categories:Types, School Work
Published by: Rajendraprasadshinde on Feb 02, 2009
Copyright:Attribution Non-commercial

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02/06/2012

 
 
Vijay Tendulkar’s Plays: a Critique of Modern Indian Society
Prof Rajendraprasad Shinde Vijay Tendulkar (born in 1928) in Kolhapur, India is a leading contemporaryIndian playwright, screen and television writer, literary essayist, political journalist, andsocial commentator. For the past four decades he has been the most influential dramatistand theatre personality in Marathi, the principal language of the state of Maharashtra,which has had a continuous literary history since the end of the classical period in Indiaand has nearly seventy-five million speakers today.A lifelong resident of the city of Mumbai, Mr Tendulkar is the author of thirtyfull-length plays and twenty-three one-act plays, several of which have become classicsof modern Indian theatre.
Ghashiram Kotwal (Ghashiram the Constable)
(1972), amusical combining Marathi folk performance styles and contemporary theatricaltechniques, is one of the longest-running plays in the world, with over six thousand performances in India and abroad, in the original and in translation. Mr Tendulkar'soutput in Marathi also includes eleven plays for children, four collections of short stories,one novel, and five volumes of literary essays and social criticism, all of which havecontributed to a remarkable transformation of the modern literary landscape of Maharashtra and of India as a whole. He is an important translator in Marathi, havingrendered nine novels and two biographies into the language, as well as five plays. He isthe author of original stories and screenplays for eight films in Marathi, including1
 
Umbartha (The Threshold 
) (1981), a groundbreaking feature film on women's activism inIndia. He is the father of actress Priya Tendulkar.The plays deal with the complexity of human relationship. Each contains a subtlecritique of modern Indian society, and a distinct character and message. Kamala is anindictment of the success-oriented male society in which women are mere stepping stonesfor the achievements of men.
Silence! The Court is in Session
combines social criticismwith the tragedy of an individual victimized by society.Tendulkar's play is a drama-within-the-drama. Like Luigi Pirandello's "The Pleasure of Respectability", the mask of respectability in Tendulkar's play breaks down before the stark reality of life. Tendulkar'sBenare is unmarried, sexually exploited and has to abort her pregnancy to maintain thefacade of honour. Benare is cast in the role of an unmarried young girl who is beingaccused of an abortion on legal and ethical grounds. In the course of rehearsal, Benare breaks down because the story of her character is similar to her own. The outwardappearance gives way to the truth about the life of Benare. Premarital sex and abortionare debated from the perspective of women struggling to liberate themselves from aworld dominated by men. The exploration of the body and sexuality is done throughfierce and bold debate. Monologues often rendered in melodramatic style echo in the hall.The heated debate, discussion and polemic offer disturbing moments. Vijay Tendulkar'sown troubled vision is expressed through a character.
Sakharam Binder 
explores the complications of human nature, two necessarycomponents of which are sex and violence.
The Vultures
depicts the economic and moraldegeneration of a family.2
 
 Encounter in Umbugland 
is a political satire and
Ghashiram Kotwal 
, set inMaharashtra in the late eighteenth century, recounts the power game played out in termsof caste ascendancy in politics.
 A Friend’s Story
is a stark commentary on the nature of  both heterosexual and homosexual love.
 Kanyadaan
explores the texture of modernityand social change in India through a marriage between two people of different castes and backgrounds. Since the appearance of cross-dressing male actors in Patanjali's
Mahabhasya
(ca. 150 B.C.E.), India's dramatic productions have been characterized by afluid role-playing of gender. Of course, having all-women and/or all-men performanceswas intended to prevent transgressive heterosexual couplings.For others, however, it became a space where same-sex desire and couplingscould flourish. In the play
Mitrachi Goshta: A
 
 Friend's Story,
pre-eminent playwrightVijay Tendulkar more than alludes to this long tradition of same-sex gender performing intheatre.Vijay Tendulkar is the most influential playwright of our time. His plays havemade a sort of a history on Indian stage. He is the major figure in keeping Marathi Stageavante- garde in comparison with other Indian languages including English. The major theme in his plays is man’s loneliness in this universe. This gives his plays not onlymodern Indian but a global dimension. Loneliness of the individual is his favouritesubject in most of his plays: Kashinath in
Manus Navache Bet (An Island called Man)
,Madhav in
Mi Jinklo Mi Harlo (I Won, I Lost)
, Rama in
Vultures,
Benare in
Silence, TheCourt is in Session,
3

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