Thursday, 5 November 2015

5th NOVEMBER MARATHI RANGBHUMI DIN


Marathi Culture and Festivals


Marathi Rangbhumi Din:

५ नोव्हेंबर..मराठी रंगभूमी दिन.
मराठी रंगभूमी खर्‍या अर्थाने इ.स.१८४३ मध्ये सांगली येथे उदयास आली. सांगली येथील संस्थानिक चिंतामणराव आप्पासाहेब पटवर्धन यांच्या आश्रयामुळे कै. विष्णुदास भावे ह्यांनी दि ५ नोव्हे.१८४३ साली सांगली येथे " सीता स्वयंवर " ह्या नाटकाचा प्रयोग केला आणि मराठी रंगभूमीचा पाया रचिला.. मराठीतील हे पहिले गद्य पद्यमिश्रित नाटक जन्मास आले.

नृत्य, गायन, अभिनय, देव, गंधर्व, अप्सरा, ऋषी, विदूषक इ.नी युक्त अशी ही पौराणिक नाटके सर्वसामान्यांची करमणूक करू लागली. मराठी संगीत नाटकांनी तर मराठी माणसाच्या हृदयात कायमचे स्थान निर्माण केले..
साधारणपणे एकोणिसाव्या शतकाच्या मध्यावधीस सुरु झालेली मराठी नाट्यपरंपरा तेव्हापेक्षा कितीतरी पटीने अधिक जोशात जोपासली जात आहे. दररोज नवनवीन नाटके रंगभूमीवर येत आहेत, यापुढेही येत राहतील. आजपर्यंत अनेक नाटके मराठी रंगभूमीवर आली. पौराणिक, ऐतिहासिक, सामाजिक, निव्वळ करमणूकप्रधान, रहस्यमय असे वेगवेगळे विषय आणि प्रकार मराठी रंगभूमीने हाताळले.
१७० वर्षाची ही रंगभूमीची परंपरा..आजही २१ व्या शतकातल्या गतिमान युगात, जोपासली जात आहे. ह्या १७० वर्षातील सर्व ज्ञात, अज्ञात कलावंत, तंत्रज्ञ आणि सहायक ज्यांनी ही परंपरा अखंड चालू ठेवली आणि मराठी रसिकांच्या मनात रुजवली त्या सर्वांचं अभिनंदन !
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5th November is celebrated as Marathi Rang bhumi din by entire Theater community of Maharashtra. This day in year 1843, Shree Vishnudas Bhave of Sangli Maharashtra had first theatre show called “ Seeta svyamvar “ There are many events organized by drama groups all over the state. Some Drama competition's finals took place on this day. And some producers deliberately release their commercial dramas on this day. Marathi Theater has great history from 1843 to 2014

05 November 2011


Marathi Rangbhumi din


P L Deshpande

            5th November is celebrated as Marathi Rang bhumi din by entire Theater community of Maharashtra.There are many events organized by drama groups all over the state. Some Drama competition's finals took place on this day. And some producers deliberately release their commercial dramas on this day. Marathi theater has great history from 1843 to 2011. In India Bengali and Marathi literature in drama industry is famous all over the world.Many scripts have traveled across globe and have been translated in many global languages. Many eminent personalities in drama industry have represented Maharashtrian culture all over the world.Many actors who worked in Bollywood in several movies have started their careers from theater. During last decade, the number of audiences for Marathi dramas showed great decline. After state Government's corrective measures, the Marathi movie theaters started getting subsidy and many Marathi movies were released tax-free. But this could not bring audiences to theaters. Although Drama audiences remained loyal to dramas.Even in the bad times some good dramas helped survival of Marathi theater.
                    
        In Mumbai, Shivaji Nayamandir, Ravindra Natyamandir, Yashwantrao Chavan Natyasankul, Dinanath Natyamandir and Damodar etc are some of the well known Marathi theaters. Apart from these, Vishnudas Bhave Natyamandir and Gadkari Rangayatan are also well known theaters. In Kalina University you will find Drama school of Mumbai University headed by Shri. Waman Kendre. His wife Gauri Kendre is contributing to Children dramas through her academy. Mumbai University's Bahishal department is run in Fort University and Director Shri. Sachin Goswami and Writer Shri. Sachin Mote are main pillars of it. Bahishal is for artists who are not full time drama professionals but pursue drama as hobby. 

         Money equation of Marathi drama industry is worst.It is the only reason why no one dares to make it as full time profession and seek entry in Marathi serials or films.There are very few production houses who have really done good business through dramas. The budget of Marathi drama can start from as low as 7 lacs. The lead actors gets Rs.2000-3000 per show but other supporting actors and back stage artists gets merely just Rs.150-250 for full day. Some dramas like 'Jaanta Raja' and 'Marathi baana' have so many artists and big sets that they can be considered as Events rather than drama or programs.Lot of experimentation has been done in Marathi dramas. Sets and lights being very important part of any drama various people like have gained expertise in it. e.g.Sheetal Talpade. The background scores and title tracks etc.make dramas more alive.Thanks to music directors like Shri.Ashok Patki who are serving Marathi theaters from several years.Some drama Directors like Kedar Shinde have gained so much success that they even Directed movies, Marathi as well as Hindi in recent past years. So dramas have seriously gave fame to several people.

          Many actors got recognized  through Marathi theater. But they encashed on this fame by acting in serials and films as theater alone could not provide them a secured life. A vegetable seller under Dadar bridge become Marathi Film Superstar,thanks to Marathi theater.Actor Bharat Jadhav's drama 'Sahi re sahi' was the biggest milestone of his life. Sanjay Narvekar's acting in Marathi dramas like Adhantar etc. bagged him role of 'Dedhfutya bhai' in Bollywood hit Vaastav.Siddharth Jadhav also followed the same success track of Marathi drama - Marathi Serials -  Marathi films - Hindi films.The list is very long. Actors like Dr.Shri ram Lagoo, Nilu Phule,Vikram Gokhale, Nana Patekar, Mohan Joshi,Mohan Agashe, Ashok Saraf, Laxmikant Berde, Sadashiv Amrapurkar are some of the names who are well known in all over India. So Marathi theater is definitely a foundation school for many veteran actors.Although some big names in Marathi drama like Prashant Damle and Bharat Jadhav could not made any impact in Hindi.

      Young generation is trying new new subjects on the restricted canvas of Marathi drama. Some scripts are really ahead of time.Many talented writers and directors are breaking the traditional frames and bringing innovations to drama field. Choosing bold subjects which were considered as Taboo and also making thought provoking dramas on social issues. Apart from entertaining people they are doing social education and giving messages which are helpful for health of the society. 

May the Marathi Rangbhumi keep growing and generate more gems in entertainment industry.I wish all the people associated with stage, a happy Marathi Rangbhumi day !! (Especially to my favorite theater actor Mr. Prashant Damle).


Kolhapuris were in for a musical treat as Natya-Swar Pushpanjali was organised in the city earlier this week to celebrate the completion of 170 successful years of Marathi Rangbhumi.

 Going back 170 years, November 5 was the date when Sita Swayamvar, a musical drama of Vishnudas Bhave, was held in Sangli. As a tribute to Marathi Rangbhumi's achievements, this musical event was organised by the Gayan Samaj Deval Club. 

 At this event held at the Deval club the main classical vocalists were the club's ex-students Nila Nagaokar and Veena Joshi who presented some classical ragas for the audiences. They were supported by by Giridhar Kulkarni on tabla, Kedar Gulavni on violin and by Dr J L Nagaokar on the harmonium. 

 Speaking about her experience of performing at the event, Nila Nagaokar said, "It is a pleasure for us to sing songs on the occasion of the Marathi Rangbhumi Din and that too in Deval Club, which is the where we learned and polished our singing talent. The audience turnout at the event was huge and this pleased us a lot." 

Celebration of 170 successful years of Marathi ...

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Giridhar Kulkarni and Kedar Gulavani at celebration of 170 successful years of Marathi Rangbhumi at Kolhapur
By: PTI | Sangli | Published:October 13, 2015 4:11 pm
Vikram Gokhale, Vikram Gokhale Films, Vikram Gokhale Vishnnudas Bhave award, Vikram Gokhale movies, Vikram Gokhale dialogues, Vikram Gokhale Roles, Vikram Gokhale Marathi Films, Vikram Gokhale Theatre, entertainment news
Vikram Gokhale, who is a noted Marathi theatre actor and has acted in several Hindi films, will be honoured with the award at a function to be held in Sangli on November 5, 2015 on eve of ‘Marathi Rangbhumi Din’.
Veteran actor Vikram Gokhale will be felicitated with the prestigious Vishnudas Bhave Award at a ceremony here next month.
Gokhale, 67, who is a noted Marathi theatre actor and has acted in several Hindi films, will be honoured with the award at a function to be held here on November 5, 2015 on eve of ‘Marathi Rangbhumi Din’.
Dr Sharad Karale, president of Akhil Maharashtra Natya Vidya Mandir Samiti, Sangli, made the announcement today.
Prominent actress-singer Faiyaz Shaikh will present the award.
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Gokhale will be honoured for his outstanding contribution to Marathi theatre.
The annual award was instituted by Sangli-based Akhil Maharashtra Natya Vidya Mandir in memory of pioneer Marathi dramatist Vishnudas Bhave.
Earlier, Bal Gandharv, PL Deshpande, Acharya Atre, Dr Jabbar Patel have been recipient of the award.
Gokhale has acted in noted Marathi films like “Lapandav”, “Kalat Nakalat”, “Vazir”, “Bala Gau Kashi Angar” and recently “Anumati”.
His prominent Hindi films include Yash Johar’s “Agneepath”, “Hum Dil De Chuke Sanam”, “Bhool Bhulaiya”, “Khuda Gawah” among others.
December 15, 1990

Comeback act

Marathi theatre stages come back with new vibrancy

Salil Tripathi  December 15, 1990 | UPDATED 10:49 IST

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Only three years ago, Marathi theatre appeared to be on the mat. Unable to successfully meet the joint onslaught of big-budget television and blockbuster cinema it seemed to have crumbled altogether.

But now, after a period of lying low, Marathi theatre, particularly in Bombay and Pune, has stirred to life once again. Sloughing off its languorous phase, it has suddenly acquired a new vibrancy. The revival is attested by the packed houses at auditoria which so far were usually associated with commercial theatre. New plays are being written. The lure of television has spawned a whole new generation of performers for stage. What's more, even weekday matinee shows are running to full houses.

And if there's a new bounce in the steps of Marathi theatre, the most sprightly of the new lot is director Waman Kendre. Born in Daradwadi, a small village in Maharashtra's dusty Beed district, Kendre went to the National School of Drama and then studied folk theatre in Kerala. He came to Bombay, worked with the Indian People's Theatre Association and then directed Zulwa (Devadasi's marriage ceremony with an idol of god), a powerful play based on Uttam Tupe's novel, about the despicable Devadasi system still practised in parts of Maharashtra and Karnataka.
Kendre hasn't looked back since then and walked away with all the three prizes for plays at the state awards last year - for Nati-goti (blood relations), Ek Zunj Varyashi (one battle with the wind), and Doosara Saamna (second confrontation). Of the 35 possible awards, Kendre's plays got 2 7. About Zulwa, Kendre says: "Dozens of people tell me they have seen it at least 10 times."

Indeed, people are beginning to troop back to the theatres. Says veteran playwright P.L. Deshpande: "The thread of love for theatre is woven into the very texture of Maharashtra." In a state with a strong tradition in theatre - where nationalistic leaders like Tilak were known patrons of theatre* and many social reformers used plays to float revolutionary ideas -Zulwa has signalled the return of earnestness in theatre.

If Kendre has been directing path-breaking plays, writing some of the better plays is Nagpur-based Mahesh Elkunchwar. His Wada Chirebandi (strong mansion indicating wealth of the person living in it) marvellously recreated the plight of an unmarried sister in a small town, with Vijaya Mehta playing a stellar role. His more recent play, Atmakatha (autobiography), has been equally successful, in which Shreeram Lagoo acts as an aging author. Last fortnight, Lagoo staged his new major production, Chanakya Vishnugupt.
Not that these are the only ones to have been bitten by the serious theatre bug. In a surprising about-turn, P.L. Deshpande, renowned for humour, has adapted Vladlen Dozortsev's The Last Appointment, an evocative critique of the heartlessness of a cynical politician. The play, Ek Zunj Varyashi - which has had 80 shows already- centres around an earnest Samaritan who has the gall to step into the august ministerial chamber and hold the politician accountable for driving a journalist to dipsomania. Other acclaimed productions include Shanta Gokhale's Avinash (indestructible) and Rajiv Naik's Sandha (joint), which effectively explores the form of theatre with an interactive sutradhar.

Clearly, the intrusion of television hasn't been altogether fatal to serious theatre. In fact, it could be even argued that tv wasn't an antagonist but it played a collaborative role particularly through programmes like Natyavalokan - a talk show where a new play is discussed with critics, the playwright, the director and a few actors.
Waman Kendre (righ) diretig the star cast for the powerful Zulwa: dissecting social practices
Meanwhile, Pune's Theatre Academy has not been resting on its laurels: its Ghasiram Kotwal, which has had a 17-year-old reign, created a record of sorts for non-subsidised amateur theatre last year by completing 500 shows. It also embarked on an ambitious three-year project to unearth new playwrights, funded by the Ford Foundation. As a result of the exercise some of the major playwrights discovered have been Ajit Dalvi, Prashant Dalvi, Arvind Vishwanath, Premanand Gajvi, Vinod Hadap and Shafat Khan. Says playwright Satish Alekar, the Academy's co-ordinator, whose latest play Atirekee(extremist) has gained a large following: "Our aim is to create an establishment so that we're free to pursue our creative endeavours."

And in order to further pump creative efforts, the Ford Foundation scheme has enabled the Academy to undertake the Playwright Development Scheme, award domestic travel fellowships, international travel grants, create a library, and acquire video equipment. The Playwright Development Scheme yielded impressive plays like Shatakhand (the hundredth volume), Karan (an Adivasi word), Bhumiti cha Faarce (the farce of geometry), Vata Palvata (path escapism), Post-mortem, Abhedya (indestructible), Avashesh (remains) and Char she koti Visarbhole (four hundred crore absent-minded).

Not that the other activities of the Academy took a back-seat. The Academy went beyondGhasiram Kotwal, to present plays like Mahanirvan (the great salvation), Abda Abda(nonsense Words), Begum Barve, Shanivar Ravivar (Saturday, Sunday), Padgham (drum) and now Atirekee.

Critics, who had criticised the absurdist tradition of the 70s on the ground that it didn't relate to the Indian reality, have been vindicated by the revival of the new wave and its simple narrative styles. According to Kendre: "To make a play heavy and complex is simple, but to make a play simple and justify it is a very difficult job. Absurd plays have damaged experimental theatre."

However, one real problem faced by Marathi theatre is that it does not enjoy the access to publicity, sponsor-ship and advertising that English theatre does. Despite the present successes, revenue is low: the highest priced ticket in a Marathi play is still Rs 20, a fifth of an English play's ticket, so as to make it accessible to the average Wagle-like person.

Life for a Marathi actor is hard, and theatre remains a labour of love. After a hard day's slog, he has to muster the energy to go to an ill-lit suburban school hall, practise for a few hours, and then return home by midnight. Says Theatre Academy's Mohan Agashe: "There is urgent need to consider subsidy for theatre on the lines of British subsidies for serious work."

Despite the problems, Marathi theatre has come a long way from 1987--the year Arwind Deshpande, noted actor-director died and it seemed as if an essential part of Marathi theatre died. For Arwind Deshpande, with his wife Sulabha and their group, Awishkar, was the moving spirit behind the Chhabildas Revolution of the '70s, when new drama flourished and experimental plays were written at the Chhabildas School in rriid-town Bombay; plays like Changuna (name of a person, based on LOrca's Yerma), Antigone, Achyut Vaze's Sofa-cum-Bed, Amol Palekar's Chal Re Bhoplya Tunuk Tunuk (come Bhopaya, tunuk tunuk) andJuloos (procession) were the rage. Desh-pande's death came at a time when theatre attendances were waning, despite occasional masterpieces such as Shreeram Lagoo's andUddhwastha Dharmashala {devastated inn) Mahesh Elkunch-war's Raktabeej (the seed of blood). Says theatre critic Mukta Rajadh-yaksha: "The complete lull in the latter half of the '80s was real."

Also, in the early '80s theatre seemed to have been pushed along the edge by tv serials like Ek Shunya Shunya (100-the dialing code to call the police). The enfant terribles of the first wave of experimentation like the Palekars had moved on to television or cinema, or had given up theatre. Vijaya Mehta began making films after staging Elkunchwar's Wada Chire-bandi, and even Vijay Tendulkar was writing film-scripts. Says P.L. Deshpande, director of the ncpa: "They were not drawn by tv, they were sucked."

But all that is a thing of the past now. Marathi theatre is back on the front burner. And with the Ford Foundation grants and ncpa's lead, the first steps towards professionalising and integrating theatre activities have already begun. Much more is needed; but so long as audiences continue to support serious efforts, the future of Marathi theatre will remain rosy.
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