Both drama and cinema depend primarily on performers who resent and communicate the story to the audience. It has managed to carve a special niche and that’s reason enough to say that there’s plenty of hope for the art in the state of Maharashtra.īoth cinema and drama are based on story. The cultural connection of Mumbai and Pune with its regional theatre shows that the stage is not dying, it is experimenting and it has long way to go. Marathi theatre fascinates its viewers with its large variety. Comedy, serious depiction of the society, political satires, musicals, romantic, tragedy, rags to riches stories and mission – it has it all. The various genres of Marathi scripts are also a reason for people to watch plays.
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If you have three movie shows in Plaza, the theatre bang opposite to it, Shivaji Mandir, has three shows of plays on the same day. No other place in India has so much of ‘commercial theatre’ like that in Maharashtra. The new breed of directors is experimenting with forms of theatre. Marathi theatre is evolving with newer ideas, newer concepts and much more experiments. They make you think even hours after you’ve watched a show. Besides, Marathi dramas are sharp, witty and very rich in content. Marathi Theatre can be described as never-ending energy live moments, live interaction, superb dialogues, and great backdrops of stage, superb background music scores, and a strong tradition of 150 years which can never die. The conditions today cannot be compared to the previous decade. There is a sea change in terms of quality and context which are changing like never before. Most importantly, Marathi theatre faces many political and social undercurrents. Perhaps it is because Maharashtra faces multiculturalism and therefore the Marathi theatre takes a backset. We find Marathi dramas live a short life span, though some of them have great content. But, there is one big problem in staging a drama and continuing it for long time. Atre, Daya Pawar etc who were known and are known even today for their par excellence. Deshpande, Vijay Tendulkar, and Mahesh Elkunchwar, Bhalaji Pendharkar, Raja Paranjape, Annabhu Sathe, Vinda Karandikar, Arun Sadhu, P. We have seen the likes of Annabhau Kirloskar, P. Marhathi theatre is not famous outside Maharashtra maybe because Marathi as a language is quite difficult and a lot of stress is laid on the richness of the language by the writers the gamut of Marathi dramas ranges from humorous social plays, farces, historical plays, musical, to experimental plays and serious drama. It continues to have a marked presence in the State of Maharashtra. It includes forms like Sangeet Natak (Musical drama), Tamasha (folk dance), Ekpatri prayog etc. Marathi theatre started flourishing in the middle of the 19th century.
Maharashtra has had long theatrical tradition, one of its early references is found in cave inscriptions at Nashik. People flocked to the theatres to watch these lavanis. Lavanis such as “Mumbai Nagari Badi Banka, Jashi Ravanachi dusari Lanka” by Patthe Bapurao and Annabhau Sathe’s “Mazi Mumbai, Arthat Muumbai Konachi” were super duper hits those days. The artists used to practice in whatever space was available to them sometimes varandahs, staircases and the open grounds.
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Because of the majority Maharashtrian workers community in the city who lived in the chawls the free time was used to practice dramas, keertans, pravachans and powadas. The Marathi stage has evolved in Bombay (now Mumbai) because this city has always been a business city it had the infrastructure and money which helped the formal performers to grow. It was inspired by Karnataka’s folk theatre form of Yakshagana. It seems King Patwardhan of Sangli requested novelist Vishnu Bhave to write an evocative play for entertaining his guests and Bhave wrote ‘Sita Swayamvar’ which was performed on November 5, 1843, in that princely state. Right from the 18 th century the Marathi theatre has been present.
Marathi theatre has always been regarded as one of the most culturally rich theatre traditions in the country.