Exploring the major trends in Marathi theatre, this three-volume set presents a detailed history of the development of modern Marathi theatre. The work is written in the form of a dialogue between a writer and a clown, where the clown goes on to educate the writer, by narrating to him the history of Marathi theatre, taking him through its inception in 1842 to 1985. Originally written in Marathi, this encyclopaedic work would narrate a social history of Maharashtra and of India as seen through the window of theatre. The narration proceeds through thirty nights, loosely following the structure of Arabian Nights, woven around the question, 'Who am I?' The methodology that Sathe follows is complex but systematic and logical as it is predicated on a sound understanding of both history and culture. He views theatre as a cultural construct shaped by the dialectical interaction between the playwright and the cultural political ethos around. The three volumes present the various stages of the historical development of modern Marathi theatre. The conversations between the writer and the clown take place at night; each night is progressively devoted to the discussion of certain historical stages.

About the Author:
Makarand Sathe, Playwright/Novelist

Makarand Sathe, an architect by profession, has been writing plays, novels, articles, and films in Marathi for last two decades. His plays have been performed at national and international festivals.


Table of Contents:
Preface Acknowledgements Introduction by Kumar Ketkar Volume One Night One Epilogue: It so happened Introduction: First period, 1843 to 1880 First l plays : VishnudasBhave-Sita Swayanvar(mythological plays) First plays: Mahatma Jyotiba Phule -Truteeya Ratna First plays: Bookish/historical plays, V.J. Kirtane-'Thorale Madhavrao Peshawe' Night Two Initial social plays: Raghunath Shankarshastri Abhyankar -Prabodhvidyutarthat Swair Sakesha M. B. Chitale-Manorama First (translated) political play: Deenabandhu Mitra/ V. M. Walvekar -Neeldarpan Night Three Introduction-Farces N. H. Bhagwat-More L.L. B. Prahasan First period-1843 to 1880: Epilogue Night Four Second phase-1880 to 1930: Introduction Beginning of musicals : Sangeetrangabhoomi: Annasaheb Kirloskar, SangeetShakuntal, and Sangeet Saubhadra Early orthodox, cultural nationalist prose plays: Narayan BapujiKanitkar: Tarunishikshannatika, Sammativayachakayada Reformist social plays: Govind Ballal Deval-Sangeet Sharada Night Five Beginning of political plays : Shankar Moro Ranade: 'Adhikardan Vivechanaathava Sthanik Swarajya Vataghat' W. R. Shirvalkar: Rana Bhimdevathava Khara Rajput; B. H. Patwardhan: Ranasimhaani Bakulaathava Prachin Rajyakrantiche Chitra Tilak and Marathi theatre Night Six Political plays of the second phase: Krishnaji Prabhakar Khadilkar, an introduction Krishnaji PrabhakarKhadilkar : Sawai Madhavrao Yancha Mrityu, Kichakavadh, and Bhaubandaki Cultural nationalist plays, second stage: Damodar Vishvanath Nevalkar -TarakMarak, Danddhari, Dharmarahasya Night Seven The second phase of Khadilkar's plays : Sangeet Manapman, Sangeet Draupad , Sangeet Menaka Colonial censorship and response given by theatre Melas and SatyashodhakiJalasas Some more socio-political plays and discussion of historical plays: N C Kelkar-Totayache band, GovindraoTembe-Sangeet Patwardhan, and Krushnaji Hari Dixit-Raja Satvadhir Night Eight Start of experimental theatre: Ram Ganesh Gadkari -Sangeetpremasanyas, Sangeetekachpyala, and Sangeetmooknayak Diwakar-Mag To Diwa Konta? Theatre before 1930: Women and female impersonators Night Nine A playwright who started many socio-political trends : Mama Warerkar-Kunjvihari B. V. alias Mama Warerkar-Hach Mulacha Bap, Sannyasacha Sansar, Satteche Gulam, Turungachya Darat Night Ten Plays in favour of armed revolt and a different kind of social reform: V. D. Savarkar-Ushshyap, Sanyasta Khadaga, Uttarkriya Plays related to religious tensions and conversions : Shri Shankaracharya Kurtakoti-Gangasammati Athava Hidukaran Manyata Night Eleven Initial Leftist Plays/ plays about labour : B. V. Alias Mama Warerkar-Sonyacha Kalas, Madhavrao Narayan Joshi-Sangeet Giraniwala, Ganeshshastri Phatak-MaziJamin Changes in political theatre after 1920: M. N. Joshi-Sthanik Swarajya V. S. Khandekar-Rankache Rajya, P.K. Atre-Mee Ubha Aahe Night Twelve Some other socio-political currents 1 : K. H. Dixit -Sundarmath; V. H. Aundhkar-Bebandshahi, Agryahun Sutka; Different representation of Gandhism-Y. N. Tipnis: Rajranjan; Remembering Tilak-B. N. Pande : Sangeet Punaragaman Some other socio-political currents 2 : VasudevKhare-Ugramangal G. V. Shetye- Rakshabandhan; Veer Vamanrao Joshi's Discussion plays: Dharmasinhasan, Ranadumdubhi Second period, 1880 to 1930: Epilogue Night Thirteen Third period, 1930 to 1955: An introduction Next stage of modernity and professionalism: S. V. Vartak-Andhalyanchi Shala Next stage of bahujan theatre-A Fresh Breath of Freedom-Ambedkari Jalsas Middle-class escapist theatre: N. S. Phadke -Yugantar Night Fourteen Prabodhankar K. C. Thackeray-Taklel Por, Khara Brahman V. V. Shirwadkar-Dusra Peshwa Political plays after 1930: D. N. Dhikhare-Aathe Sal; G. K. Bodas-Pujya Gandhiji; An important Gandhian play: G.Y. Chitnis-Nava Payeek Night Fifteen Plays on women's issues after 1930: K.P. Khadilkar-Sangeet Bayakanche Band, P.K. Atre -Gharabaher, Jag Kay Mhanel M. G. Rangnekar-Kulwadhu; One remarkable feminist play :B. V. Warerekar-Bhumikanya Sita Third Period-1930 to 1955: An epilogue Volume Two Night Sixteen Prologue: Post-Independence Period Vigorous energetic theatre: Introduction to the Working Class theatre Anna Bhau Sathe-Inamdar Anna Bhau Sathe-Nave tamashe Gavankar-Swargalokchabatmidar Night Seventeen Rashtrasevadal Kalapathak : An introduction VasantBapat-Sarvaklayan; P.L. Deshpande-Pudhari Pahije NiluPhule-Yera Gabalyache Kaam Nohe; Ram Nagarkar, Dada Kondke-Laal Cheenchya Aakramanacha Farce; Jaywant Dalvi-Vatvaghool Night Eighteen First phase-1950 to 1985: An introduction The playwright who woke up Marathi theatre that was trapped in entertainment and psudo-sentimentality with a start and forced it to grapple with reality: Vijay Tendulkar-Shrimanta Night Nineteen Four pillars of entertainment oriented commercial middle class Marathi theatre : One: Bal Kolhatkar-DuritancheTimirJao Two : P. L. Deshpande (First Phase)-Tuze Aahe Tujpashi Three: Vasant Kanetkar (First Phase)-Vedyachegharunhat VasantKanetkar-Prema tujharangakasa, RaigadalaJeva Jag Yete, Ashrunchi Zali Phule Four: V. V. Shirwadkar-Natsamrat Night Twenty Vijay Tendulkar (The Second Stage)-Gidhade Vijay Tendulkar-Shantata! Court Chalu Ahe A remarkably experimental playwright : Khanolkar-Ek Shunya Bajirao Khanolkar-Avadhya Night Twenty-One The second stage, 1965 to 1975-80: An introduction Vijay Tendulkar (The Third Stage) -Ghashiram Kotwal Vijay Tendulkar-Sakharam Binder Night Twenty-Two Playwrights who took experimentation to the next level: Mahesh Elkunchwar- (The First Stage) Introduction Mahesh Elkunchwar -Garbo, Vasanakand, Party Mature political thetare : G.P. Deshpande (The First stage) -Udhvasta Dharmashala Night Twenty Three Satish Alekar (The First Stage) -Mahanirvan Satish Alekar-Begam Barve Satish Alekar -Mahapur AchyutVaze -Chal Re Bhpalya Tunuk Tunuk Volume Three Night Twenty Four Commercial theatre at the next stage: Jayawant Dalwi (The First Stage)-Sandhyachhaya, Barrister JayawantDalvi-Suryasta Kanetkar (Second stage)-Beimaan; P.L. Deshpande (The Second Stage)-Ti Phularani Night Twenty Five Incisive Political theatre-Dalit theatre : An introduction M.B. Chitnis-Yugayatra; B. S. Shinde-Kalokhachya Garbhat; Premanand Gajvi-Ghotbhar Pani, Devnavari PremanandGajvi-Tanmajori; Texas Gaikwad-Amhi Deshache Marekari; Ramnath Chavan-Sakshipuram, Baamanwada Datta Bhagat-Khelia, VataPalwata Night Twenty Six The third stage, 1975-1985: An introduction Vijay Tendulkar (Third Phase)-Kamala, Kanyadan Night Twenty Seven Mahesh Elkunchwar (Second Phase)-The Trilogy of 'Wada Chirebandi': An introduction Mahesh Elkunchwar: Trilogy-Wada Chirebandi, Magna Talyakathi, Yugant Night Twenty Eight Ratnakar Matkari -Lokakatha 78; P.L. Deshpande (Third Phase) -Teen PaishachaTamasha Jayawant Dalvi (Second Phase)-Purush Night Twenty Nine G.P. Deshpande (Second Phase)-Andharyatra G. P. Deshpande (Second Phase)-Satyashodhak Satish Alekar (Second Phase)-Dusara Samna, Atireki Night Thirty Post 1985: Contemporary theatre: Some important currents and Epilogue References Bibliography Index About the author