Marathi theatre

The region of Maharashtra, has had long theatrical tradition, one of the early references is found in the cave inscriptions at Nashik by Gautami Balashri, the mother of 1st-century Satavahana ruler, Gautamiputra Satakarni. The inscription mention him organizing Utsava and Samaja forms of theatrical entertainment for his subjects.[4]

There are sources mentioning plays from 17th-century like Lakshmaikalyanam, and Ganga-Kaveri Samvad, in the Marathi-language staged for the Bhosale ruler of Tanjore in present-day Tamil Nadu state. However, these were plays performed in the royal court.[5][6]

The first public performance of a stage play in Marathi was Sita Swayamvar (Marriage of Sita) by Vishnudas Bhave, based on a popular episode of the epic Ramayana. Staged in 1843 in Sangli, with ruler of the princely state of Sangli in audience, it was an experimental play, based on folk theatre form called Yakshagana from the neighbouring Karnataka region. After the success of his play, he staged many more plays about other episodes of Ramayana. His plays were largely influenced by the Shakespearean and Parsi theatres. Bhave went on to form a travelling theatre troupe.[7][8] The coming decades saw notable plays like Jhansichya Raniche Naatak (1870), Sawai Madhavravancha Mrutyu (1871), AfjhalKhanachya Mrutyuche Naatak (1871) and Malharrav Maharaj (1875). However, Marathi stage took a distinct theatre form with the musical Shakuntal by Annasaheb Kirloskar in 1880,based on a classical work, Abhijnanasakuntalam by Kalidasa.The success of his theatre company, Kirloskar Natya Mandali paved way for commercial repertories in Marathi theatre, and subsequently the formation of Natak Companies.[9]

The early period of Marathi theatre was dominated by playwrights like Kolhatkar, Krushnaji Prabhakar Khadilkar, Govind Ballal Deval, Ram Ganesh Gadkari and Annasaheb Kirloskar who enriched the Marathi theatre for about half a century with excellent musical plays known as Sangeet Natak. The genre of music used in such plays is known as Natya Sangeet. It is during this era of the Marathi theatre that great singer-actors like Bal Gandharva, Keshavrao Bhole, Bhaurao Kolhatkar and Deenanath Mangeshkar thrived.

In the second half of the 20th century, some theatre practitioners have incorporated the traditional forms like tamasha and dashavatar into their plays. In the 1970s, the tamasha form was employed as narrative device and style in several notable plays like Ghashiram Kotwal by Vijay Tendulkar, Vijaya Mehta's Marathi adaptations of Bertolt Brecht's The Good Woman of Setzuan as Devajine Karuna Keli (1972) and Caucasian Chalk Circle as Ajab Nyaya Vartulacha (1974), P. L. Deshpande's Teen paishacha Tamasha (1978), an adaptation of Brecht's The Threepenny Opera.[3] Mehta also adapted and Ionesco with Chairs.[10][11] Varyavarchi Varat" the most famous and comedy play written by "Pu.la.Deshpande" and also this play is still in theaters with new cast & crew . Although the characters created by Pu.La. were fictional many people still relate to them.