Vijay Tendulkar (1928-2008) is ranked as one of the three maestros of Indian theatre–Girish Karnad and Badal Sircar may be taken as the other two. Of them Tendulkar has been the most prolific and perhaps the most popular playwright among the general theatre-goers—an artist who dedicated himself completely to the cause of theater. Tendulkar has been persistent in incorporating new form and techniques in his theatre to make it both philosophically thought –provoking and aesthetically satisfying. His theatre is appealing both to the common audience and aesthetically satisfying. His theatre is appealing both to the common audience and intellectual theatre –critics. He uses folk forms in modern theatre made waves. He has experienced how in a hegemonic culture people exploit others through different strategies—social, economic and even cultural. It may be said that this knowledge of Tendulkar functioned as a stimulus for him to undertake such themes as love and betrayal, sex and violence, politics and revenge in course of his long career as a playwright. Again the subject of exploitation is so hauntingly present in his theatre that any sensitive reader might find some affinity with the theoretical propositions of ‘power and knowledge’ as enunciated by Foucault in his seminal work Power/Knowledge: Selected Interviews and Other Writings 1972-1977. There is enough contemporaneity between Tendulkar’s theatricalisation and Foucault’s proposition of power. The title of my article ‘Theme of Power and knowledge: Vijay Tendulkar’s Ghasiram Kotwal’ is therefore denotative of the divergent strategies of power in our society and how as a serious playwright Tendulkar has voiced forth those aspects in his play.
See Full PDF See Full PDFSince immemorial times, human beings have been striving to become powerful and superior to others. They always urge to be more powerful than others hierarchizing the divisions. This has made the social pyramidal where the few at the top usurp the great power of the masses. It has become possible and usual because the people give away their power by taking the hierarchized society for granted. As the higher rungs of the hierarchized society are endowed with greater power in addition to the greater privileges, people struggle to scramble up the ladder of power. In this journey, some people go up while some go down. This sort of striving for power is recurrent in Vijay Tendulkar’s Ghashiram Kotwal that explores the game of power in politics and human relations. The objective of the paper is to focus on Tendulkar’s Ghashiram, the protagonist of Ghashiram Kotwal who becomes a tragic figure because of his strong urge for power. It also examines how Ghashiram, in the game of power, inflicts pain on Maratha Brahmins, victimizes them, and torments them with a view to taking vengeance.
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Vishwabharati Research Centre, Latur
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Journal of Advances and Scholarly Researches in Allied Education
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Muse India the literary e journal
For a land as culturally diverse as India with a long and rich tradition of dramatic performances accompanying varied regional specificities or the folk tradition has always been undeniably the primary indispensable source of adding Indian essence to theatre. Focusing primarily on the 1970s, one may observe that the major Indian playwrights broke the barriers of regional language consciously and produced several noteworthy plays, thereby rendering their works experimental, and centered on incorporating the elements of folk theatre into the popular Indian theatre fold. Prominent playwrights like Girish Karnad and Badal Sircar deploying the theatrical device of Yakshagana creatively, and experimenting with folk elements to incorporate them into the proscenium theatre’ respectively, bear testimony to the emergence of a radical shift in Indian theatre, one that did not shy away from adapting itself to the modernist/avant garde forms brought into the world of modern theatre. Much like his contemporaries, Vijay Tendulkar experimented with various forms of folk theatre in Ghashiram Kotwal (1972) which has been successful as a significant and unique play in balancing the traditional and modern elements to carve a niche for itself in the history of Indian theatre. It is pertinent to revisit Tendulkar’s eminent work and discern its critical value in the world of contemporary Indian theatre along with an acknowledgement of the playwright’s adept use of a traditional idiom in contemporary theatre. A scholar should therefore attempt to comprehend how Tendulkar adopted the various theatre folk devices and forms as well as employed them effectively to represent power politics and the effects of oppression through a presentation of subliminal violence on stage that has the readers of the play grapple with very contemporary modernist debates.
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The present paper intends to represent feministic approach in Vijay Tendulkar's Ghashiram Kotwal in the context of postcolonial gender study. In this play Tendulkar sketched a few female characters that have almost no voice at all throughout the play. His female characters are weak, marginalized and above all victims of patriarchal socio-political oppression and repression. Though ==================================================================== Language in India www.languageinindia.comISSN 1930-2940 18:8 August 2018 Trailakya Roy, M.A. (English), NET Woeful Women: A Feminist Reading of Vijay Tendulkar's Ghashiram Kotwal 289 the play is set in a particular socio-political background of colonized India to develop the idea of authority or power, the interpretation and reinterpretation of the text makes it more relevant about the subjugated condition of women in contemporary Indian society.
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Present paper is a holistic attempt to focus on depiction of tradition and modernity in the plays of Vijay Tendulkar. One might also say that modernity is an economic force with social, cultural, and political correlatives. Tradition is a cultural force with social, economic, and political correlatives. Vijay Tendulkar in his plays reveals not only traditional but also modern trends. He has made an amalgamation of tradition and modernity in his plays. They are intertwined with tradition and modernity. In Tendulkar's plays, one can clearly see his acute observation of life. The event and incidents depicted in his plays have their origin in real life. While projecting the social reality, he uses the fine balance between tradition and modernity. Tendulkar is not a traditional but a new (modern) playwright.
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Present paper is proposed to study Vijay Tendulkar as an Indian playwright. Six famous plays by Tendulkar, has been focused mainly in the paper to draw a sketch of the playwright's personality based on his treatment of numerous themes and characters in his plays. Tendulkar has written basically all his plays in his native language 'Marathi'. It is contribution or cooperation of many translators who has translated his plays in English and in many other languages. But English version is more popular than that of other language versions. And about the themes and the sources of his plays it would not be wrong to say that all of his plays are based on his experiences and his direct observation of society. Tendulkar is basically a social reformer and through his plays he wants to reform the society by highlighting some burning problems of society in form of portraying them as the plots for his plays. What kind of playwright Vijay Tendulkar is, has been discovered in the conclusion of the paper by a brief study of playwrights selected plays.
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