Marathi

_MG_0266
All Plays Folk Performances Marathi

VEER BABRUVAHANA (DASHAVTAR)

Director: Tushar Sonu Naik
Group: Naik Mochemadkar Paramparik Dashavtari Loknatya Mandal, Maharashtra
Language: Marathi
Duration: 1 hr 40 mins

 

The Form

Dashavtar is a popular form of folk-art characterizing rural theatre of South Konkan region, the coastal Sindhudurg district of Maharashtra. Dashavtar is generally the presentation of different incarnations of Lord Vishnu, with ‘akhyanas’ (stories) from great epics Mahabharata and Ramayana, though these days more secular themes are also presented.

Dashavtar is an all-male performance. It has music, mime, colourful costumes, extempore dialogues, dance steps, and battle scenes. Dashavtar regales, instructs, and edifies the rural masses through the themes it presents. The music has harmonium, tabla or pakhawaj, and cymbals as accompanying musical instruments, and is based on the Hindustani style.

 

The Performance

Babruvahana, the king of Manipur, takes in his custody the horse of the Pandavas which they had sent as symbol of their supremacy over all the kings.  Meghavarna, son of Ghatotkacha, and Rushiketa, son of Karna go in search of the horse but fail to find it and return. Chitrangi, mother of Babruvahana, reveals to him that he is the son of the great warrior Arjuna. Babruvahana goes to meet Arjuna, but Arjuna gets angry and insults him. This makes Babruvahana furious. He challenges Arjuna for a fight. In the battlefield Arjuna gets defeated and Babruvahana decides to behead him. Chitrangi and Ulupi, Babruvahana’s stepmother order him get the divyamani, a precious stone, from the head of Shesh Nagraj, to save Arjuna and other martyrs in the battlefield.

Babruvahana goes to Shesh Nagraj, who is also his grandfather, and succeeds in getting the divya Nagamani. Meanwhile Bheema, the elder brother of Arjuna, arrives on the scene and on seeing Arjuna beheaded, fights with Babruvahana. Chitrangi and Ulupi stop them and tell him what actually happened.

All of them pray to Shree Krishna who appears and brings life to Arjuna and the others by touching the Nagamani on their heads. Babruvahana and his father Arjuna embrace each other.

 

Director’s Note

While directing this play, I have selected the artists who are able to portray the character assigned to them. I have worked on the dialogues, costumes, make-up, and hairstyles, especially of males who perform the role of females. I thank the music director of this play for his single-handed contribution in this production.

 

The Director

Tushar Sonu Naik is a Matriculate. Though he is young, he has directed many plays, such as Veer Babruvahana, which is most popular among all. Most of the plays directed by him are in the traditional folk form of Maharshtra – Dashavtar.

 

The Group

The troupe known as Naik Mochemadkar Parmparik Dashavtari Loknatya Mandal is headed by Sonu alias Babal Shripad Naik, and managed by his son Tushar Sonu Naik, who is also a musician.

The family resides on the picturesque sea-shore in a small village called Mochemad, in Maharashtra. Dashavtar, a traditional folk art of this area, has been practiced by the family for more than six generations. The performers and musicians of the troupe come from different villages of Sindhudurg district and a few also from the nearby state of Goa. They all are from poor, rustic, rural areas, mainly farmers, agriculturists or artists dedicated to this folk art with devotion and love.  Naik Mochemadkars are frequently invited to perform their plays in annual festivals, rural fairs in the courtyards of temples, and these days even in urban areas. More than 240 performances are staged by this group every year.

 

Cast & credit

Ganesh Gajanan Vengurlekar
Riddhi Akshay Naik
Siddhi Dipak Mayekar
Babruvahana Nitin Asayekar
Hansadhvaja Sudhakar Parab
Arjuna Narayan Asayekar
Meghvarna Nilesh Naik
Rushiket Sagar Gaonkar
Ulupi Ratnakar Manjarekar
Chitrangi Mahesh Dhuri
Bheema Krishana Naik
Shesh Nagraj Guru Varadkar
Shrikrishana Aatmaram Sawant
Harmonium Rajan Gawade
Mrudang or Pakhvaj Piyush Khandare
Cymbals Snatosh Gudulekar
Singer Mahadev Dalvi
Backstage Artists Sitaram Gawade, Pravin Tandel,
Raman Parab, Harishchandra Manjarekar
Music Director Jayram Shripad Naik
Head of the Troupe Sonu Shripad Naik
Research                        Vijaykumar Phatarpekar
Director & Manager    Tushar Sonu Naik

 

 

 

Contacts

Naik Mochemadkar Paramprik Dashavtari Loknatya Mandal

Mochemad – Vengurla

H.No 134, Bhandarwadi-Mochemad

P.O. – Tank, Taluka – Vengurla

Distt. – Sindhudurga State – Maharashtra

Pin 416518

Ph. +919405070799, 9764504137

E: tnaik82@gmail.com

vedharan 07
All Plays Folk Performances Marathi

VEDHARAN (Kaalo)

Playwright: Anagha Deshpande
Director: Saish Deshpande
Group: Abhivyaktee, Panaji
Language: Konkani & Marathi
Duration: 1 hr 15 mins

 

The Form

Kaalo is a popular folk-art of Goa, dedicated to the village deity and lord Vishnu. Traditionally it is performed in the mandap or matov, a roofed structure just outside the temple. Each character’s entry is announced by the Hardas through a melodious song. Kaalo is presented in two parts – Poorvarang (The first half) and the Uttararanga (the later part consisting of an episode from Puranas). The entire performance is supported by classical vocal music to the accompaniment of two Mridangas (now replaced with Pakhawaj) and a number of Jhanj i.e. cymbals.

 

The Play

Vedharan is a Kaalo that depicts the story of Shankasura stealing Vedas from Brahmadev. After stealing the Vedas, Shankasur comes back to his kingdom and makes his half-witted aides, Chimo and Poklo in-charge of the ‘Institute of Vedas’. This leads to a sense of discomfort and unrest amongst commoners while their political representatives struggle to use Vedas for their political gains. Shankasur annoyed with this development decides to meet his political Guru, Brihaspati, for a solution. Brihaspati informs him of the misuse of powers by his ministers and the adulteration of knowledge that is being done in the Asurnagari for selfish interests due to which Shankasur is fast losing support of his people.

The play ends with Lord Vishnu getting the Vedas back from Shankasur, and the artists singing the traditional hymn, thus expressing the hope that each one may get an access to education which is everyone’s right.

 

Director’s Note

Vedharan  was conceived in a special theatre festival, Lok Rang, which involved research and production of plays based on Goan folk theatre styles. It was a dream project which helped us to seek and learn the possibilities of our traditional theatre form Kaalo. The word ‘kaalo’ in Konkani means a mixture of various items, and here it refers to the blend of various theatrical elements like dance, song, music and dialogue which are aptly used in this production to weave an impressive story of misuse of powers for political gains. Vedharan , while incorporating the elements of Kaalo, has been designed for the proscenium and utilises the benefits that the modern performing space offers. While maintaining the authenticity, like the elaborate Poorvarang, the presentation later takes freedom of the theatrical reality which I feel is a step towards exploring the form.

I am grateful to Shri Vinayak Khedekar and Pt. Ulhas Velingkar who guided us during the process.

 

The Director

Saish Deshpande, alumnus of Kala Academy’s School of Drama and founder member of Abhivyaktee-Panaji, has designed and directed more than 100 full-length plays since 1986, comprising of professional, semi-professional, traditional and experimental productions in Konkani, Marathi, Hindi, English and Sanskrit. He is a recipient of the National Award for Programme & Technical Excellence by Prasar Bharati, Govt of India.

 

The Playwright

A versatile theatre personality from Goa, Anagha Deshpande has written several plays in Marathi, Hindi, Konkani and English. Her recognized works include Teen Da, Swapnavasavadatta and Nagananda, Dashavatar Darshan and Face Off-line. Two of her plays Chitralekha and Vedharan  have been published.

 

The Group

The cultural organization Abhivyaktee was formed in the year 1997 at Panaji by the alumnus of Kala Academy’s School of Drama. Its regular activities include theatre classes and workshops. Abhivyaktee designs and produces issue based plays and theatre festivals.

 

Cast and Credits

Shankasur Dnyaneshwar Govekar/Raghuvir Govekar
Hardas Sachin Naik
Mahabal Abhijit Ekawde
Chhota Bhataji Anish Deshpande
Chimo Saurabh Karkhanis
Poklo Gautam Gaude
Brahmadev & Brihaspati Raghoba Parab
Vishnu Sagar Haldonkar
Narad Shounak Deshpande
Piso Abhishek Dhawaskar /Rhutvik Sawant
Ganapati & Mahamantri Raghuvir Govekar/Dnyaneshwar Govekar
Saraswati & Nartaki Prerna Palekar
Maharani Priyanka Verekar
Mantri & Chorus Shambhavi Deshpande
Rhutvik Sawant, Abhishek Dhawaskar,
Anish Deshpande,Chaitra Deshbhandari,
Sriya Bandodkar, Manjusha Bandodkar
Vocals & Taal Varad Tari and Sachin Naik
Pakhawaj Mahanand Kawlekar, Abhijit Ekawde
Set Sandip Deshpande
Lights Vaibhav Naik
Costume Anagha Deshpande
Make-up Eknath Naik
Property Manjusha Bandodkar
Choreography Priyanka Verekar
Special thanks to Shri Vinayak Khedekar, Pt. Ulhas Velingkar, Dr. Pramod Pathak, Prabhakar Sanskritik Sanstha, Caranzale
Script                                           Anagha Deshpande
Music & Direction                     Saish Deshpande

 

 

 

 

Contacts

President, Abhivyaktee-Panaji

A/3, Kamdhenu

Dr D.V.Road, Panaji, Goa – 403001

M: +91 7350521204, 9422060265, 9422448494

E: abhivyaktee@gmail.com

 

Ek Zunj Varyashi 4
All Plays Indian Plays Marathi

EK ZUNJ VARYASHI

Playwright: P. L. Deshpande
Director: Shriniwas Narwekar
Group: Vision, Mumbai
Language: Marathi
Duration: 2 hrs 30 mins

 

The Play

Ek Zunj Varyashi (A fight with the wind) is a critically acclaimed play. An anonymous common man seeks an appointment of a minister and point blank demands his resignation with supportive evidences, for the injustice done with some other person. Arguments, cross-arguments between them leads the main body of this classic play, whose soul being the machination of political & bureaucratic system, highlighting the destructive characteristic of human nature. It is an adaptation of Russian playwright Vladen Dozortsev’s The Last Appointment adapted by legendary Marathi playwright P. L. Deshpande.

 

Director’s Note

The original play, written 40 years back, reflects the socio-political conditions which have remained the same all these years. The reason why I chose to perform and direct it is its timeliness. The past tendencies remain unchanged in the present. Secondly, this is a real time performance. The duration of the events that take place is equal to the duration of the play! It is a challenge and privilege to convey its meaning through performance.

 

The Director

Born in Mumbai, Shriniwas Narwekar’s accomplishments, participation and activism span across arts, literature, journalism and cinema for last 29 years. He is a playwright, story writer, screenplay writer-director, translator, copy-writer, columnist, and satirist. He delivers lectures in theatre and film workshops on voice-culture, movement, film appreciation, script and story writing. He has also been writing short stories, satirical columns, articles in various newspapers, focusing on contemporary issues. Shriniwas has been felicitated with various awards for his contribution in these fields. He was a member of an advisory committee (Drama) of Goa Kala Academy and visiting faculty for Academy of Theatre Arts at University of Mumbai.

 

The Playwright

Purushottam Lakshman Deshpande, popularly known as ‘P. L. Deshpande’ or ‘Pu La’ was a Marathi writer and humourist from Maharashtra. He was also an accomplished film and stage actor, script writer, author, composer, musician, singer and orator. His works have been translated into many languages. He was particularly well-known for his humourist literature. He produced several original works and also adapted prominent literary works from other languages into Marathi. He has a versatile literary repertoire of more than 90 books that include drama, essays, stories, profiles, films, travelogues, biographies, one-act plays and children’s plays. He is called a pioneer of one-man stage shows. The play Ek Zunj Varyashi is an adaptation of The Last Appointment by Soviet playwright Vladlen Dozortsev. The latter was an activist author. His works contend with the prevailing socio-political culture and transitions in Soviet Russia. This particular play was written in the crucial upheavals of Perestroika, Russia.

 

The Group

Vision, Mumbai is an amateur group active since 2015, and is an offspring of the group Natya Vilas which has been active since last 25 years. It is the group’s innovative vision that propels literature and theatre-based projects. The group has won several competitions. It has produced one and two-act plays. To be precise, Vision is based on a movement that keeps theatre and literature alive, lively and kicking.

 

Cast & Credits

Dr. Deshmukh Deepak Karanjikar
Dr. Choudhary Ashutosh Ghorpade
A Common Man Shriniwas Narwekar
Chitra Shobhana Mayekar
   
Set Baba Parsekar
Lights Siddhesh Nandlaskar
Make-up Ulesh Khandare
Costumes Shriniwas Narwekar
Music Operator Abhilesh Sarpadwal, Sagar Pawar
Backstage Management Prasad Sawardekar, Deepak Joil, Ninad Panchal
Set Management Satish Kalbande
Calligraphy Sunil Devlekar
Manager Rakesh Talgaonkar
Production Controller Nishant Ghatge
Producer Shriniwas Narwekar
   
Marathi Adaptation                           P. L. Deshpande
Direction & Background Score Shriniwas Narwekar 

   

Contacts

Vision, Mumbai

Birje House, Gr. Floor,

Prof. V.S Agashe Path,

S Gokhale Road (S), Dadar (West)

Mumbai- 400 0285

Ph: 022-24212958

M: +91 9322492630, 9594191198

E: shriniwasnarwekar@gmail.com,

visionvoicenact@gmail.com

Chatrudatta Group 1
All Plays Indian Plays Marathi

MRUCHCHAKATIK

Playwright: Govind Ballal Deval
Director: Ravindra Khare
Group: Bharat Natya Sanshodhan Mandir, Pune
Language: Marathi
Duration: 3 hrs 10 mins

 

The Play

Originally, Mruchchakatika (The Little Clay Cart) is a ten-act Sanskrit drama written by Shudrak, an ancient playwright, sometime around the 2nd century. The play is set in the ancient city of Ujjayini during the reign of King Pālaka, The central story is that of a nobleman Charudatta, who falls in love with a wealthy courtesan Vasantasena. Despite their mutual affection the couple’s lives and love are threatened when a vulgar courtier, Samsthānaka, also known as Shakara, begins to aggressively pursue Vasantasena. We would like to mention that this Marathi play Mruchchakatik had been written by Govind Ballal Deval in 1887. The characters are drawn from the mundane world. It is peopled with gamblers, courtesans, thieves, and so on. Though Vasantasena is a courtesan, her exemplary attitude and dignified behaviour impress the audience. The nobility of the characters does not stem from their social conditioning but from the inner virtues and behaviour.

 

Director’s Note          

The subject of Charudatta – Vasantsena from Shudrak’s Sanskrit play, although translated in Marathi but with the same name Mruchchakatik, is very attractive & appealing to the audience in general. Many traditional singing forms & ragas add to the popularity of this production. This musical is interestingly woven with traditional Kathak dance which is the highlight of the play. It also depicts the earlier traditions of Central India, sometime in 3rd century, and also the politics in that particular era, bearing similarity to the contemporary one.

 

The Director

Ravindra Khare is a well-known actor on Marathi stage & media. He has also composed a musical Nishabda Majgharat, which won prizes at state level and also in Marathi drama competition in Delhi. He is closely associated with Bharat Natya Mandir Group for more than 40 years now and is the Trustee of the institution. He has directed more than 15 Marathi musicals and lends his voice to many ad-films, and also acts in TV-serials by renowned directors. He has produced, directed & edited many plays for AIR Pune.

The Playwright

A well-known Marathi playwright, Late Shri Govind Ballal Deval (1855-1916), has written Durga, Sharada, Shapsambhram, Sanshayakallol, Zunzaarrao, Vikramorvashiya and many other plays. He composed the lyrics and music of many songs in Kirloskar’s play Shakuntal. Deval worked for a few years at Kirloskar Natak Mandali as a playwright, actor, and director. After his move to Pune in 1894, he founded Aryoddharak Natak Mandali; and also worked with Bal Gandharva’s newly established Gandharva Natak Mandali. He was the first drama guru of legendary Bal Gandharva.

 

The Group

Bharat Natya Sanshodhan Mandir is known to be the oldest Marathi theatre education institution since its foundation in 1894 in Pune. It is producing, organising, performing dramas & conducting dance & music classes since then. The institution completed 125th year of its existence in October 2019. It has a well-stocked library with many rare manuscripts, old photographs, material related to drama and several rare drama scripts which have been written in the past 150 years.

 

Cast & Credits

Maitreya Ram Sathaye
Sanvahak Sanjay Dole
Sutradhar / Sharvilak Sanjeev Mehendale
Veet Rajan Kulkarni
Karnapurak / Nyayadhish Abhay Jabde
Rajshalak Shakaar Anand Panse
Shodhanak Vishwas Pangarkar
Radanika Aparna Pendase
Madanika Kavita Tikekar
Dancers Maitreyi Nirgun, Radhika Bhinge, Bhagyashree Kulkarni,
Revati Sant, Samrudhdhi Pujari
Vasantsena                                Gauri Patil
Charudatta Charudatta Aphale
Music Accompaniment Rahul Gole (Organ)
Omkar Deodhar (Tabla)
Lights Shubham Kute
Sound Jayadeep Nemade
Drapery Rakesh Gholap
Make-up Madhav Thatte
Back Stage Viththal Hulawale, Abhijeet Gaikwad, Jitendra Sutar
Team Manager Vijay Kumar Potdar
   
Playwright                                G. B. Deval
Director                                    Ravindra Khare

 

Contacts

Bharat Natya Sanshodhan Mandir

1320, Sadahshiv Peth, Pune- 411030

Ph: 020-24471614, 24481614

M: +91 9422303676, 9822026425

E: bharatnatyamandir@gmail.com

M23A5310
All Plays Indian Plays Marathi

MAGNA TALYAKATHEE

Playwright: Mahesh Elkunchwar
Director: Venkatesh S. Naik
Group: Kala Academy Goa’s School of Drama, Panaji
Language: Marathi
Duration: 2 hrs 15 mins

 

The Play

The second part in the trilogy by eminent playwright Mahesh Elkunchwar, Magna Talyakathee is a strongly written family drama having its roots in the first part, Wada Chirebandi. Set in rural vidharbha, the play talks about relationships, aspirations, joys, sorrows, anger, insecurities and many other human emotions. While a few things improve, others disintegrate irrevocably. References to caste (other than prejudices between the two Brahmin sub-castes), a grain crisis and urbanization are in a passing and at best part of a dejected rant by the hapless protagonists.

 

Director’s Note

This play is about the traditional Indian joint-family functioning, and the changes that occur due to modernization, and the adjustment and overcoming from the life challenges. The three generations of Dharangaonker Deshpande and the struggle of each family member is being shown very effectively through this play. In order to give a practical experience to the students of four fold Abhinaya i.e. Angik, Vachik, Satvik and Aaharya, this script was selected as a classroom production. From direction point of view it was also an attempt to make the students learn about clarity in speech, thought, movement on stage, gestures, meaningful pauses, meaning between the lines and other aspects of theatre. The story summarises many social issues and conflicts. Doing this play was a very enriching experience indeed.

 

The Director

Venkatesh S. Naik is a performer, director and designer who has been practicing theatre since 1985. He is a commerce graduate and a Theatre Art Faculty diploma holder from Kala Academy Goa. He has done Masters in Performing Arts (Dramatics) in 2016 and has worked under eminent play directors like Vasant Josalkar, Kamlakar Sontakke and many others. He has toured to Dublin, Ireland for the performance of Rabindranath Tagore’s plays Post office and Red Oleander. As a director he has many more plays to his credit. Presently he is working as Director, School of Drama and Chief of Repertory Company (Rangmell), Kala Academy Goa.

 

The Playwright

Mahesh Elkunchwar, born on 9th October 1939, is a well-known Marathi playwright. He was born in Parwa Vidharbh, Maharashtra. He taught English literature in a Nagpur college until his retirement as the head of the department in 1999. He was a guest professor of Screen Play-writing at FTI, Pune in 2000-2001, and a visiting professor at NSD, New Delhi. He was awarded the Sangeet Natak Akademi and Nandikar award in 1989, Maharashtra Gaurav 1990, Sahitya Akademi award for his Trilogy Yugant, and Kalidas Samman 2014-15 and many others.

 

The Group

Kala Academy Goa established its School of Drama, formerly named Theatre Art Faculty, in 1987. The school conducts a three-year full-time course with specialization in Acting and Production from 2nd year onwards. Kala Academy is situated on the banks of the Mandovi River and the sprawling campus has three auditoriums. The School of Drama has access to these auditoriums thereby giving the students the benefits to perform in different auditoriums in the course of their training. Students are encouraged to design/direct short plays apart from the regular productions. Eminent theatre personalities from all over India impart training at the School as visiting faculty.

 

Cast and Credits

Bhaskar Sai Kalangutkar
Vahini Padma Bhat
Sudhir Aniket Nangre
Anjali Varsha Ashwekar
Parag Rushikesh Sawant
Abhay Runal Kolkankar
Aai Samiksha Sawant
Chandu Vedang Gaude
Nandini Aakanksha Deshpande
Ranju Pritanka Mandrekar
Prabha Jyotsna Gauli
Set Sandeep Kalangutkar
Set Assistant Eknath Mahale
Light Nilesh Mahale
Light Assistant Rajratna Kaushalyan
Music Sachin Chowghule
Music Assistant Siddesh Parab
Costume Amol Prabhugaonker
Make-up Narottam Chari
Stage property Sairaj Naik
Stage Manager Rushikesh Sawant
Assistant Director Keshavrao Rane
   
Playwright                              Mahesh Elkunchwar
Director                                  Venkatesh S. Naik

 

Contacts

Director, School of Drama, Kala Academy Goa,

Campal, Panaji (Goa) – 403001

Ph: (0832) 2420451/52/53/54

M: +91 8806561048, 8999547155

E: kalaacademygoa@yahoo.co.in