Post independency. the 50s and 60s were decennaries when a new India was being built. Every field was traveling towards alteration. Marathi theatre excessively. which was hitherto trapped in melodrama and averageness. was traveling towards this alteration. Veterans like Bhau Padhyay. Jayavant Dalvi and Vijay Tendulkar. among many more brought about this alteration. Journalist turned playwright. novelist. short narrative author and screenplay author. Vijay Tendulkar was known for his portraiture of that existent. ugly face of the Indian center category which most people found uncomfortable to cover with. This portraiture of world drew him into many contentions. He battled prohibitions and censor boards to take his message across to his audience. Tendulkar was known to be a dramatist who was much in front of his times.
During the 60s and the 70s. i. e. when Tendulkar’s plays began acquiring staged. our society was mostly an optimistic 1. comfy in its ain shell. It was a society that was hopeful for alteration. but at the same clip. it was unwelcoming of the worlds Tendulkar was turn toing through his plants. Tendulkar’s works revolved around assorted subjects like retaliation. lip service. patriarchate and force. His plants are dateless and. though around 50 old ages old. they are as relevant today as they were so. Tendulkar’s dramas were aimed at the in-between category. and he ever managed to unwittingly floor the in-between category. He showed them. through his dramas. that ugly side of them which they preferred to conceal. He realistically portrayed the complex relation between the common adult male and society. He did non take a moral base in his dramas.
He attempted to happen realistic solutions to the force and lip service without being excessively naive and simplistic. The cardinal subject of his dramas was ‘situations make work forces behave like animate beings towards other men’ . and he efficaciously brought this out through his plants. Vijay Tendulkar was the first dramatist who took Marathi theatre outside Maharashtra. His plant. Shantata! Court Chalu Aahe. Kamla. Kanyadaan. Sakharam Binder. Ghashiram Kotwal. Gidhade. Baby and Ashi Paakhre Yeti. among many others created ripplings across Maharashtra and elsewhere. The eternity of his plants. the multiple beds to each narrative. the amoral base taken by most of his prima characters make Vijay Tendulkar one of the greatest Indian dramatists of all times.
Shantata! Court Chalu Aahe
Shantata! Court Chalu Aahe is the narrative of a immature. individual. independent actress and school instructor. Leela Benare. The apparatus of the drama is a mock test where her fellow histrions accuse her of infanticide. What starts as a s gag. ends up in a disclosure that Leela Benare is really guilty of aborting her bastard kid with a married adult male. The drama takes the audiences through Leele Benare. foremost as a playful. happy immature adult female and so as person who uses her playful. gay nature as a defence mechanism to salvage her from society and world. Tendulkar exposes the lip service and dual criterions of the in-between category. therefore doing a remark on how ethical motives play such an of import function in society. Benare is victimized to immense mental injury by her chaps Sukhatame. Karnik and Mr. and Mrs. Kashikar. How an independent. urban educated adult female is treated and looked down upon in a patriarchate is the cardinal subject of this drama.
Benare is ganged up against by society for what she does in her personal life. The drama ends with Benare go throughing out because of the huge psychological injury she is subjected to and Mrs. Kashikar seeking to soothe her. As Satyadev Dubey and Vijaya Mehta put it. Shantata! Court Chalu Aahe is likely Tendulkar’s most of import work. Shantata depicts huge psychological force. It shows the dual criterions nowadays in the in-between category society. Satyadev Dubey adds that the in-between category does non happen this drama violent because they are incognizant of the force that is present within them. Shantata! Court Chalu Aahe was foremost staged in 1968. but the drama is relevant even today. In our patriarchate. even today. an educated independent adult female is considered a menace. Even today in our society. sex is a tabu and promiscuousness. a wickedness. The moral dual criterions Tendulkar points out through his characters are present in society even today.
Tendulkar negotiations about the meddlesome nature of society. Benare is forced to unwrap her personal life to a group of people. who alternatively of assisting her out of her jobs. will merely judge her character. and even possibly mock her. This is non unknown in society today. We are ever interested in cognizing what is go oning in the lives of others. Nothing can explicate this better than the popularity of Television shows and newspapers that carry famous person ‘gossip’ . Taking this a measure farther. I would even wish to associate this to how the media sensationalizes issues at the cost of the privateness of certain people.
The drama does non hold a happy stoping. Benare’s go throughing out symbolizes the triumph of society over an single. This holds true even today. In about all walks of life. society with all its lip service and uncleanness is considered to be above the person: be it the forbiddance of an creative person because of how society responded to his/her art was manner more of import than his/her right to show what he/she wanted or the apprehension of persons because whatever they said was purportedly interpreted by society as being provocative.
Sakharam Binder is the narrative of Sakharam. Laxmi and Champa. Sakharam is a bookbinder who lives by the belief that he can ignore society and unrecorded life by his footings every bit long as he is true. He picks up adult females discarded by other work forces and uses them as sexual spouses and domestic retainers. Sakharam believes that he is making a favour to these adult females and therefore society and that gives him the right to handle these adult females nevertheless he wants. Laxmi is his 7th ‘temporary wife’ who is shown as perfectly timid. lovingness and submissive. Champa. on the other manus is a loud. foul mouthed. violent adult female who replaces Laxmi from Sakharam’s life and house. This trigon relationship causes Laxmi to travel to extreme steps to carry Sakharam to kill Champa. who she considers competition in the eyes of Sakharam. Tendulkar uses his trade of demoing two utmost sides of every character convincingly in Sakharam Binder. Laxmi who is ab initio seen as the victim to Sakharam’s force and humiliation goes on to go his maestro by doing him make precisely what she wants him to.
Champa who is ab initio loathed by the audiences. who develop a soft corner for Laxmi’s soft spoken behaviour by the clip Champa enters the scene. subsequently goes on to do a topographic point for herself in the Black Marias of the audiences after she is viciously murdered by Sakharam. Sakharam is shown as person who gets easy carried off. First Laxmi transforms the rough. butch Sakharam into a God fearing. ‘civilized’ adult male. This is subsequently changed by Champa. who converts this ‘civilized’ Sakharam into a defeated alky. Sakharam though violent by nature discoveries himself helpless in forepart of Champa. He is a slave to his ain sexual demands. Though. this appears to be a violent drama. force is non seen as a cardinal subject. It is a sort of force that comes to the characters of course. maintaining in head their backgrounds and the state of affairss they face. Again. through Sakharam Binder and the force involved in it. Tendulkar managed to mark the white collared in-between category with the sort of natural. vulgar filthiness nowadays in society. He portrays force through sex. this clip.
He shows the relation between Sakharam and Laxmi and Sakharam and Champa as one of sensualness and force instead than that of love and fondness. Sakharam Binder as I see it today is the narrative of a adult male whose failing and defeat leads him on to research those sides of himself that he is originally incognizant of. Sakharam. who is ab initio loathed by the audiences. so becomes an object of commiseration for the audience. Sakharam Binder is a dateless drama because of Tendulkar’s survey and portraiture of human nature. Sakharam. Laxmi and Champa are the victims of fortunes. The subject of the drama. certain state of affairss lead persons to act like animate beings with each other. holds true even today.
Ghashiram Kotwal is a drama. starkly different from the other plants of Vijay Tendulkar. While all other plants of his were set in the in-between category society. Ghashiram Kotwal was a political period play set in Pune in the times of the Peshwa regulation. The chief characters of the narrative are Ghashiram Savaldas. a Brahmin from Kanauj and Nana Phadanavis. the main curate of the Peshwa. The narrative goes as to how Ghashiram. who is abused in Pune and vows to learn Pune a lesson. He goes on to barter his girl with Nana Phadanavis for the station of the head of constabulary of Kotwal. On going the Kotwal. he takes his retaliation. He changes the face of Pune. anguishs guiltless Brahmins. The drama ends with Nana Phadanavis directing orders to kill Ghashiram. The subject of the drama happens to be the ugly face of sexual. power and retaliation political relations. As Tendulkar puts it. he wanted to state the narrative of how the symbolic Nana Phadanavis and the symbolic Ghashiram Savaldas are dependent on each other. wherever there is a Nana. there will be a Ghashiram. and vica-versa. Set against a periodic background. the drama holds an equal relevancy even today. Tendulkar used the historic character of Nana Phadanavis and built a fictional narrative around it.
The drama was written in 1972. when Tendulkar was doing a remark on the rise of the Shiv Sena and the Congress leting the rise of the Sena. The manner Nana gave Ghashiram an upper manus to turn to the extent that he became a threat to Nana. and so got rid of him ; can be slackly related to how the Congress let the Sena grow in Bombay until it became a nuisance to the Congress itself. This is a state of affairs that has relevancy even to the political relations of today. Osama Bin Laden. who was uncontrollably allowed to turn and so subsequently viciously destroyed by America. is precisely what Tendulkar tried to demo in Ghashiram Kotwal. Again. through Ghashiram Kotwal. Tendulkar portrays force.
And once more. it is non the chief subject of the narrative ; it merely gels in with the secret plan of the narrative. In this instance. it is physical force and development that comes along as a consequence of power. There are cases in the drama where Ghashiram. high on power and retaliation. induces countless atrociousnesss on the Brahmins of Pune. There is besides Lalita Gauri. Ghashiram’s girl who faces huge unfairness as a consequence of Ghashiram’s hungriness for retaliation. Tendulkar. through this swap between Ghashiram and Nana. points out the usage of adult females and sex in power political relations.
He points out the function of the adult female to be involved in the full battle for power but merely as person who sacrifices. Ghashiram gives away his immature girl to Nana. who impregnates her. Lalita Gauri finally dies during childbearing. Therefore. the adult female in the narrative is nil more than a sex object who sacrifices her young person to an old adult male for the interest of her father’s retaliation. Ghashiram Kotwal. written and performed as a musical. is much more than the entertaining comedy it seems to be at first. The drama has multiple beds that go deeper and deeper in picturing the dark and ugly face of retaliation.
Tendulkar and feminism
Vijay Tendulkar. in Vijaya Mehta’s sentiment. was a chauvinist. Though it may look at the face of it that his dramas revolved around adult females characters. be it Leela Benare. Laxmi. Champa or even Lalita Gauri. that was non truly the instance. The chief characters in his dramas were ever society at big. The adult females in his dramas were ever at the having terminal. He decidedly was a author much in front of his times and had a progressive idea procedure. which is why he did non morally judge any of his female characters for being either promiscuous or disgusting mouthed or even submissive. He depicted world. His thought of feminism was. likely world. He showed that an independent adult female is non accepted by society. He showed that adult females were nil but sex objects.
He showed that at the terminal of the twenty-four hours. a adult female is traveling to travel back to her adult male irrespective of the manner he treats her. because the adult female has accepted him with all his defects and knows that he is all she has ; there is nowhere else she can travel. He brings out patriarchate in all his dramas. He made his audiences feel for the adult female in the drama. However the society. which is along with her in her narrative. merely sees her through the patriarchal set up. The adult female ne’er won in his dramas. she ne’er succeeded in doing a respectable topographic point for herself in society. But she did. in the heads of the audiences. This. in my sentiment. was Tendulkar’s function as a women’s rightist. He made the audiences realize that it is society: work forces and besides other adult females. which looks down upon a adult female and Judgess her morally. He showed the audiences the ugly side of their ain faces that they would otherwise avoid flaunting.