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Marathi theater has evolved and flourished over the past 80 years, in spite of the growing dominance of other forms of entertainment. The evolution of Marathi theater can be studied over each decade, since each period set its own imprint in the evolution of this art. In early days dramas were written, performed, and managed by 'natak mandali', who had a family structure. Dramas were longer, with more attention to sets and drapery. Most were musical dramas with a large number of characters. As times evolved, dramas are becoming more structured, number of characters is reducing. Traditional musical dramas (natyasangeet) have reduced, with more emphasis on story. Often dramas are adaptations of foreign scripts or translations from other languages.

Pre 1947 Dramas written by Acharya Atre were the bread and butter of Marathi stage in the period before Independence. Popular dramas included Vande Mataram, Lagnachi Bedi, Saashtang Namaskar, and Bhramacha Bhopala. At this time, the cinema industry was booming, whereas Marathi Rangbhoomi was thinning down and weakening rapidly. The great artist Dinanatha Mangeshkar had expired in 1942. Balgandharva, one of the lead performers, was aging and the signs of age on his performance was making Marathi audience sad. Other prominent artists included Hirabai Badodekar, Bapurao Mane, Saraswati Rane, Sureshbabu Mane, Jyostna Bhole, Master Avinash (Ganapatrao Mohite), Vimal Karnataki, Shanta Apte, Bhargavram Acharekar, Chota Gandharva, Shripadrao Nevarekar, and Gohar Jaan. They were doing their best to keep Marathi Rangabhoomi alive.

1947-1950

Around the time of Independence in 1947, there were only a few Natak Mandalis (groups). One of these was Natyaniketan, the company owned by Mo, Ga. Ranganekar. Nandadeep, Vahini, Kulawadhu, Ek hota mhatara, Kone eke kali, Rambha, Dhakati aai were the dramas written by Mo. Ga. Rangekar himself. The main actors in this company were Jyotsna Bhole, Master Avinash, Leela Ogale, P.L. Deshapande, Mama Vartak etc. It may be noted that in Vahini, P.L.Deshapande used not only to act but also sing with Leela Ogale (heroine). Shreedhar Parsekar excellent violinist was a talented music composer. This company changed the style of stage songs completely. The songs were of shorter duration, less of traditional classical musical style, more importance to sentiments (Bhavageet), hardly more than 5 to 6 songs per drama were the trend changing music in Mogara’s dramas. Jyostna Bhole was the main pillar of the musical side and acting of the Natyaniketan’s dramas. Master Krishnarao Phulambrikar popularly known as master Krishna was a great classical singer and a greater composer. He was a disciple of The Great Bhakrabuva Bakhale. So was Narayan Sheepad Rajahansa popularly known as Bal Gandharva, who acted in numerous dramas including: Shaakuntal, Mooknayak, Shaaradaa, Shaapsambhram, Ekach Pyaalaa, Maanaapamaan, Draupadee, Vidyaaharan, Menakaa, Saavitree, Kaanhopatraa, Sadheei Meerabai, Saubhadra, Mruchhakateek, Sahachaarinee, Sanshayakallol, Aasha Niraasha. Nandkumar. Out of these dramas the all-time best are considered: Swayamvar, Ekacha Pyala, Kanhopatra, Vidyaharan, Sanshayakallol.

The Balawant Natak Mandali consisted of Master Dinanath, Chintamanrao Kolhatkar, Dinakar Kamanna etc. Master Dinannath’s famous dramas were: Manapamaan, Randundubhi, Bhaavabandhana, Sanyasta khadga, Rakshasi Mahatwakanksha, Punyaprabhav. It is worthwhile to remember that incomplete grand dramas like Raajsanyasa, Ramarajyawiyoga, and probably Vedyancha Bajaar were staged by Balwant natak Mandali with admirable courage and spending lot of money. Raajsanyasa and Vedyancha Bajar were dramas by Gadkari whereas Raamrajyaviyoga was the incomplete drama by Annasaheb Kirloskar. (He is also the author of 2 great dramas Shaakuntal abd Saubhadra) (Vedyancha baajaar was the first drama Gadakari undertook to write in 1910s. He wrote 2 or 3 acts but lost interest in it. Later this was completed by Chintamanarao Kolhatkar who was a great actor. Among so many characters he enacted Ghanashyam from Bhavabandhan and Vrindavan from Punyaprabhav remain unforgartable.) In Raajsanyaasa Dinanath used to act Shivangi and C.Gokhale as Raayaba. He also enstaged Sanyasta khadga by Savarakar. In short the period 1947 to 1950 on Marathi stage was made worthwhile by old sanageet dramas Manapaman, Ekach Pyala, Saubhadra,and prosatic dramas of Acharya Atre like Lagnachi Bedi, Bhramacha Bhopal, Sashtang Namaskar, and dramas of Joshi like Deomanus, Mailacha Dagada and Fulapakhare etc.

[tbd According to Chandrakant Gokhale he acted with Dinanatha in all five dramas of RAM GANESH GADAKARI. It may be mentioned that Gadakari wrote Bhavabandhan. In his mind Dinanath was Latika just as Khadilkar wrote Swayamvar keeping in mind Bal Gandharva as Rukmini. Vinayakrao Sawarakar has written three dramas. Sanyasta Khadga, Ushyaap and Uttarakriya. Few understood Sawarakar. Old classic sangeet dramas like Manaapamaan, Saubhadra, Ekach Pyala etc. and the dramas of Mogara(Motiram G. Ranganekar-his natak mandali Natyaniketan ) ]

1950—1960

Mention must be made of Bha. Vi. Warerakar who wrote more than 30 dramas; Sanyashacha Sansaar, Haacha mulacha baap, Sonyacha kalas, Bhoomikanya Sita, Kunjavihari, Satteche Gulaam ,Shree, Kunjavihari etc. In later perod G.D.Madagulakar wrote a few songs for Bhoomikanya Seeta and Jystno Bhole enstaged this drama in 60s. In this period Acharya Atre continued to write dramas and Marathi stage does remain grateful to him. Humor, subtle hidden advice and entertainment were the highlights of Atre’s dramas. The dramas he wrote were Sashtang Namaskar, Lagnaachi Bedi, Gharabaher, Udyaacha Sansaar, Jag kaay mhanel, Panigrahan, Buva tethe baya, To mi navecha, Kavadichumbak, Dr. Lagu, Mi mantri zalo, Moruchi mavashi etc. To mi navech made history. This drama wtitten on the life of a living person Kazi, was beautifully, artistically, woven for stage by Acharya Atre. Bhatala dili osari a drama by Natyaniketan brought on the stage Prabhakar Panashikar in 1956. He later on made the stage as his karmabhumi. In 1956 came Tuze aahe tujapashi by P.L.Deshapande and made a solid impact on spectactors. As it happens this is the only one fully original drama and that too very successful of P.L. (Purushottam Laxman Deshapande later was known by all Marathi people as Pu-La.) This drama had a hidden famous personality as the main character. Vasant Kanetkar, Bal Kolhatkar, Vidyadhar Gokhale, Vi.Va. Shirawadakar made their entries as dramatist in this period on Marathi stage. 1960-1970

Vasant Kanetkar wrote Miramadhura, Matsyagandha, Ashrunchi Zali fule, Gharaat fulala parijat, Mala kaanhi sangachay, Suryaachi pille, Himalayachi savali, Lekure udand jahali etc. His trio of historical dramas Rayagadalaa Jaag yete, yethe oshalal mrutyu, Gavatala bhale futataat must not be forgotten because these dramas give three dimensional shape to about 40 years of maratha’s history from 1675 to 1710. Aanakhi ekacha kaaran was one of his drama on the subject of brain drain. Chadralekha brought most of these dramas on stage. Ramadas Kamat, Kashinaath Ghanekar, Bharati Malavankar, Faiaz, Ashalata Wabagavakar, Sulabha Deshapande, Damu Kenkare, Lalita Kenkare, Prof. Todaramal and so many others carried the brunt of Marathi Rsangbhoomi in this period. On Sangeet side Ramdas Kamat, Chotta Gandharav, Vasantarao Deshapande, Jayamala Shiledar, Jayaram Shiledar, Rajani Joshi, Jyostna Mohile, Lata Shiledar, Kirti Shiledar, Kusum Shendye made Marathi stage proud.

Suhasini Mulagaonkar and her three ekpatri dramas must not be forgotten by Marathi spectators. Saubhadra, Manapamaan, and Swayamavar were very commendable efforts of Suhasini’s acting, singing talents and great Ekapatri dramas.

Later on from 1967 till 1980 Kirti Shiledar repeated the same feat by starting of Ekpatri Swamvar. In this period 1961-70,Yayati and Devayani ,by (Ramadas Kamat and --), Weej Mhanali Dharatila (Faiayaz), Pahila Panadav, Aaamacha nav baburao, Natasamrat were great contributions to Marathi stage by Vi.Va. Shiravadakar. To mi navecha and Katyar kalajaat ghusali by Acharya Atre and Purushottam Daravekar respectively made histories. The hero of To mi navecha was Prabhakar Panashikar and of the latter Vasantrao Deshapande. The original writing, acting, dramatics, films made on the subjects, the music, composition for Katyar by Jeetendra Abhisheki are milestones of Marathi stage.

1970-1980

In this period first comes Vijay Tendulkar. His drama Sakharam Binder created a whirlpool in marathi society. May be somewhat realistic, but very sensational! Nilu Fule and Lalan Sarang and her husband Mr. Sarang created a turmoil. It opened a new gateway for Marathi Natak. Same way Ghashiram Kotwal also was and is a very new and different trend. His other dramas Mitra, Baby,  Gidhade were enstaged. Sex and that too in a different angle was the centre point of Tendulakar’s dramas. His position as an original dramatist, daringly bringing forward some rather dark aspects of the society or history gave him an unique position.

Vidyadhar Gokhale kept Marathi Rangbhoomee singing happily for considerable time. Gokhale had a good command on Urdu too.His dramas were: Mandaramala, Suvarnatula, Meghamalhar, Jay Jai Gaurishankar. Music for most of these dramas was composed by Raam Marathe, Vasantrao Deshapande, and Vasant Desai. The singers were Chota Gandharva, Ram Marathe, Vasantrao Deshapande, Prakash Ghangrekar, Prasad Sawakar. Going to the theatre and coming out happily can be said as the typical experience of viewing Gokhale’s dramas. He also pursued the typical trait of Maraathi stage and that is musical mood.

Baal Kolhatakar wrote and enacted in quiet a few of the Prosaic and sangeet dramas like: Mumnbaichi Maansa, Vegale Vyachaya Mala, Wahatoo hi durvanchi judee, Ughadale Dwar Swargache, Dev Dinaghari Dhavala, Seemevarun Parat Jaa. Baal Kolhatkar was called Chota Gadkari.

Asha Kale cannot be forgotten for her unique acting style and that led her through many dramas and later in movies too.

Marathi Rangabhumi (established in early 50’s.) This was the natak mandali formed by Jayaram Shiledaar and Jayamaalaa Shiledar. (Before marriage Jayamaala Shiledar was Pramila Jadhav. She used to act supporting roles with Baal Gandharva. Here supporting has two meanings. When he was not able to stand on his own feet on stage he used to keep his hand on Jayamala’s shoulder and enact his role. And Baal Gandharva was Rukmini Jayamala was Snehalata in SWAYAMVAR and so on. But during this absolute proximity Jayamaalaa grasped all the minute specialities of his acting and singing. The whole Shiledar family thinks Baal Gandharva as their God.) It can be said that in this period Shiledars along with Chota Gandharva Brought on the stage all the typical musical dramas on the stage. Marathi Rangabhoommee brought on stage a few new dramas. (One drama was based on Kaalidaas.) The other was Swarasmaradnee. The music was by Neelakantha Abhyankar. Author was Vidyaadhar Gokhale.

Mention should be made of" Dhanya te gayani kalaa". A natak on Tansen, written by Gopalkrisha Bhobe and Sangeet was Bhimsen Joshi’s one and only one composition. This was only one drama written by Bhobe. He died when he was very young.

1980-2000

Marathi Rangabhoomee continued to contribute by replaying the classics as well as developing new dramas. In general the trend of the Rangbhoomee was to develop dramas for middle class or dramas tending to glorify great social reformers. Bal gandharv’s Janmashatabdi (centenary) was celebrated in this period. Tilak and Aagarakar, Begum Barve, Hamidabaichi Kothadi, Swami, Ghar Shreemantache, Purush, Rakheli, Chirebandi Wada, Sonachafaa etc. were new dramas in this period. . Jeetendra Abhisheki continued to compose music for Marathi dramas. He gave music to Matsyagandha, He bandh reshamache, Yayati va Devayani, Dhadila Raam tine ka vani, Lekure udand jahalee, Katyaar kaalajaat ghusalee, (Meera Madhura), and Mahananda. One more excellent drama in this period is Mi Nathuram Godse bolatoy. The drama is written by Pradeep Dalavi, originally directed by Vinay Apte and main character Nathuram Godase portrayed by Sharad Ponkshe. The truth behind one important event justifiable killing of Gandhijee is so effectively put forth. Aai retie hotey, Tee fularani, Double cross are dramas by Bhakti Barve (Inamadaar) very talented actor who died prematurely in an accident.

[tbd Shirawadkar wrote a new drama " ["] 2001-till date

Kodamantra is a beautiful recent drama. The original drama is in Gujarathi, then translated to Marathi. The presentation and acting by Mukta Barve has made it a top class drama. Garva Nirvaan an excellent presentation of a musical drama. Except the lyrics which were written by Ram Ganesh Gadakari nothing is truly of Gadakari though the drama was presented as his.

Naman Natawara Vismayakara !!!