THEATRE IN MAHARASHTRA
Still Popular: Because Of Good Writers, Innovative Directors And An Appreciative Audience In The State.
Principal Form Of Folk Theatre: Tamasha
The theatre in Bengal and Maharashtra is alive because of
good writers, innovative directors and an appreciative audience, which is
open to changes. The craze for theatre and the eagerness to experiment
with its content has remained untouched in Maharashtra,
while most other regional theatres have either died their respective
deaths, are sinking or are completely dependent on adaptations and
translations from other languages.
Theatre
is a tradition in Maharashtra and neither the audience nor the playwrights
ever look at it as just a medium of entertainment. "Stage is a medium
for self expression" says Bhadkamkar. 'Theatrewallahs' (People
connected with theatre) cite this as a reason behind more and more Marathi
youth taking to writing plays. "The tradition of theatre in
Maharashtra is so strong that even a mill worker has a play in his mind,"
says noted Hindi theatre producer-director, Dinesh Thakur.
Workshops
Theatre tradition is boosted every time a workshop for
playwrights is organised. Hindi-Marathi writer-director Satyadev Dubey,
organised workshops way back in 1972 and later in 1989. The former
produced names like Mahesh Elkunchwar, G.P Deshpande, Achyut Vaze and the
latter brought to fore besides others, the talents of Shafad Khan, Chetan
Datar, Rajeev Naik and Prashant Dalvi.
The Pune based Theatre Academy too organises workshops for playwrights.
Objective indicators of the success of these workshops are the entries to
the annual Maharashtra State Drama Competition. It gets around 450 entries
each year from 38 centres all over the state of which at least 100 scripts
are original, and by young playwrights.
So, the contributions by the young are flowing in and themes are being
experimented with. And all the activity has support.
Folk Theatre
Tamasha is the principal form of folk theatre of
Maharashtra. It emerged in the 16th century. It served
as "bawdy lascivious diversion" for both Moghul army and
Marathas. The bawdy strain still remains today but has modified to suit
the wholesome family tastes of the middle and upper middle class.
Modern Tamasha troupes are of two varieties: song-dance troupe and folk-
drama troupe. The philosophical and aesthetic scheme of Tamasha
incorporates three basic elements: the entertainment tradition, the more
serious propagandist tradition and the devotional tradition.
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