Marathi drama books
They insist that the majority have their say. For them, the wedding rituals are as important as the incubation of the child. The anxious parents of a child who is in an incubator seek to spend time in the open space, whereas the young boys who have come for the wedding ceremony are single-mindedly bent on playing loud music on their audio machine. The action of his play Piper (Pungiwala, 1999) takes place in a common open space between a hospital and a wedding hall. He is also a poet, and has quite a few plays to his credit. Of the three playwrights, Himanshu Smart is the senior. Identity crisis, consumerism, individualism, man-woman relationship, non-communication, generation gap are among the themes common to them all. The three post-90 young playwrights of the Marathi theatre who are discussed in this article-Himanshu Smart, Manaswini Lata Ravindra and Dharmakirti Sumant-have all strongly reacted to the times they belong to. The awesome socio-economic and cultural transformation reminded one of Irving Washington’s Rip Van Winkle, who awoke one fine morning from deep slumber only to find that the world had undergone a sea change the world he had known didn’t exist any longer. The fancy malls gave one the thrill of riding on a giant wheel on the one hand, and reduced man to a commodity on the other. The horrifying pace of the development forced retailers to give way to dazzling malls. Thousands of two- and four-wheelers screeched along the streets twenty-four hours a day, causing traffic congestion and leaving no space whatever to pedestrians. Next to flourish was the automobile industry. Thousands of aspiring youth fell for the Promised Land and found themselves glued to computer in call centers day in and day out consequently, they knew no other world than their family and the call centers where they worked. A job in the IT industry implied handsome salary, perks and possibility of business tours to the United States in future. With the entry of the foreign investors in the market, and the then existing rigid rules and regulations waved off, industrial development gathered momentum, resulting in a boom in information technology sector in particular.
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The multinationals swarmed in and cast their net wide across the country.
Marathi drama books free#
The free market policy as initiated and implemented by the government of India in 1991 marked a radical transformation of socio-economic and cultural scenario of the country. The Marathi theatre, thus, has always been literally “here and now.” Besides, it has taken due notice of a number of contemporary socio-economic and cultural problems. It has probed deep into violence and sexuality as the primitive drive of mankind. It has sought to hold microscopic examination of the mythological and historical idols.
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Unlike the other regional theatres in the country, the modern Marathi theatre has dared to ask uncomfortable and embarrassing questions concerning religious, social and educational institutions.
Marathi drama books professional#
Though the professional theatre is more relevant to its times than any of its counterparts in the country, it is the experimental Marathi theatre that has made its mark at the national level.
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The theatre here is twofold: professional and experimental. The Marathi theatre is arguably the most progressive in the country thanks mainly to the galaxy of social reformists and activists in Maharashtra in the nineteenth century. Since the theatre here is not confined to any single specific form-as Kabuki in Japan for instance-the scholars and theatre practitioners seem to find it difficult to define the unified national identity of Indian theatre. The wide variety of existing theatre traditions and forms makes what Indian theatre is today. Theatre in India today embodies all the three theatre traditions: the Sanskrit, the Folk and the Western. Under the colonial rule of the British in the nineteenth and the twentieth centuries, theatre in India took to the proscenium theatre and psychological realism. It was then that the regional folk theatres, which by nature were improvised, emerged in different parts of the country. However, the Sanskrit theatre waned because of foreign invasions from the tenth century onwards. The Sanskrit theatre (200 BC-10 AD) was considered synonymous with Indian theatre as no other theatre existed then. However, let us first glance at the theatre in India at large, in order to have due perspective of the Marathi theatre. This article will discuss the new generation of playwrights in the Marathi theatre. Marathi is the regional language of the State of Maharashtra on the West Coast of India.