Marathi theatre has been a dynamic and vibrant
feature of life in Pune. Natya Sangeet or musicals
have always been an essential part of Marathi theatre.
Early
Styles
In the early days, theatre groups made of a poet,
musician and dancers moved from village to village
or to a wada in the city (on invitation of the Peshwa)
to perform and earn a living. Sung in bawdy tones
the Lavni (folk dance performed in accompaniment
with provocative verbose), was very popular during
the Peshwa period and Lavni dancers found patronage
in Pune at the time; and Tamasha (a very bawdy verbal
banter between two dancers) has been a part of Marathi
stage and enjoyed by ordinary people and the well-to-do
alike. The Marathas also performed Powada a recital
eulogising the heroic deeds of well known persons.
The beginning of modern Marathi theatre is seen
with the performance of the play, Sangeet Seeta
Swayamvar in Pune in the late eighteenth century
(written by Vishnudas Bhave, the play was performed
for the first time in Sangli some 37 years earlier).
The art form fell back on lores in history and mythology
combined with the magic of semi-classical music
received extensive patronage from the masses. In
the 1930s, the emergence of cinema as a new medium
of entertainment almost shook the foundation of
the Marathi theatre. But by then, amateur theatre
(founded by academics) had established its roots
in the city and nurtured the medium through workshops,
festivals and competitions. This phase saw the focus
of Marathi theatre shift from poetry to prose and
entertainment to experimentation. It was also in
the late 1930s, that a new life breathed into Marathi
theatre. Satire had caught the attention of the
Marathi playwright. By the late 1950s, a new wave
of naturalism had evolved which fostered the birth
of experimental theatre. On the rostrum, the Sutradhar
or the narrator assumed great importance and maintained
the link between the story and the audience.
Contemporary
Marathi Theatre
The launch of the annual Purushottam Karandak Inter-collegiate
Competition in the early sixties set standards for
amateur theatre and proved a gold mine of talent
for both mainstream theatre and cinema. Marathi
theatre produced personalities like director, Dr
Jabbar Patel and playwright, Vijay Tendulkar, both
of whom came into the national limelight and stole
international attention with the Theatre Academy's
widely acclaimed production, Gashiram Kotwal in
1973. Big and small troupe performances and festivals
like Balgandharva continue to light the fires of
Marathi Rangabhoomi (performing arts). This was
perhaps the golden era in Marathi theatre. In 1974,
another landmark was achieved by Marathi theatre
as it successfully bridged the gap between the commercial
and experimental theatre with the blunt musical
Mahanirvaan (written by Satish Alekar, Director
of University of Pune's Centre of Performing Arts).
Laced with black humour, the play completed 25 years
in November, 1999. These landmarks aside, passion
for the performing art is slowly declining as theatre
troupes continue to struggle with the economics
of the trade and competition from Hindi television
which has attracted many Marathi theatre artists
away from their colloquial base. But stalwarts of
Marathi theatre believe that inspite of the good
and bad days, Marathi stage will continue to survive.
