Read Five Plays: Kamala; Silence! the Court Is in Session; Sakharam Binder; The Vultures; Encounter in Umbugland by Vijay Tendulkar Free Online
Book Title: Five Plays: Kamala; Silence! the Court Is in Session; Sakharam Binder; The Vultures; Encounter in Umbugland|
The author of the book: Vijay Tendulkar
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Loaded: 2081 times
Reader ratings: 5.5
Edition: Oxford University Press, USA
Date of issue: February 29th 1996
ISBN 13: 9780195637366
Format files: PDF
The size of the: 7.39 MB
Read full description of the books:
I read the book primarily for the play "Kamala". I have been a big fan of Tendulkar and have watched two other plays "Sakharam Binder" and "Silence! the court is in session" sever times in the last couple of years (over DVD).
Kamala is a great play. Its protagonist (Sarita) is an educated woman and a wife of a journalist living in Delhi. Her life changes when her husband brings home a lady (Kamala) from Bihar after buying her in the bazaar. He is trying to prove to the world that flesh trade is real. However, his self-centered attitude wakes Sarita in realizing that she is also a slave, perhaps a little more sophisticated.
Incidentally, the play is made into a Hindi movie (Kamala, 1984) where Shabana Azmi plays Sarita and Deepti Naval plays Kamala. The movie is available free on YouTube. After reading the play, I watched the movie. What I felt was that the end of the play narrative was slightly modified in the movie and appealed to me much more than the book.
I am a native marathi reader/speaker and hence when I started reading "The vultures" in English it didn't appeal to me that much. I would like to read it in Marathi itself.
My favorite play of Tendulkar is Sakharam Binder.
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Read information about the authorVijay Tendulkar (Marathi:विजय तेंडुलकर) (7 January 1928 – 19 May 2008) was a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator primarily in Marāthi. He is best known for his plays, Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972).Many of Tendulkar’s plays derived inspiration from real-life incidents or social upheavals, which provides clear light on harsh realities. He provided his guidance to students studying “Playwright writing” in US universities. For over five decades, Tendulkar had been a highly influential dramatist and theater personality in Mahārāshtra.
Vijay Dhondopant Tendulkar was born on 7 January 1928 in a Bhalavalikar Saraswat brahmin family in Kolhapur, Maharashtra, where his father held a clerical job and ran a small publishing business. The literary environment at home prompted young Vijay to take up writing. He wrote his first story at age six.
He grew up watching western plays, and felt inspired to write plays himself. At age eleven, he wrote, directed, and acted in his first play.
At age 14, he participated in the 1942 Indian freedom movement , leaving his studies. The latter alienated him from his family and friends. Writing then became his outlet, though most of his early writings were of a personal nature, and not intended for publication.
Tendulkar began his career writing for newspapers. He had already written a play, “Āmchyāvar Kon Prem Karnār” (Who will Love us?), and he wrote the play, “Gruhastha” (The Householder), in his early 20s. The latter did not receive much recognition from the audience, and he vowed never to write again . Breaking the vow, in 1956 he wrote “‘Shrimant”, which established him as a good writer. “Shrimant” jolted the conservative audience of the times with its radical storyline, wherein an unmarried young woman decides to keep her unborn child while her rich father tries to “buy” her a husband in an attempt to save his social prestige.
Tendulkar’s early struggle for survival and living for some time in tenements (“chāwls”) in Mumbai provided him first-hand experience about the life of urban lower middle class. He thus brought new authenticity to their depiction in Marathi theater. Tendulkar’s writings rapidly changed the storyline of modern Marathi theater in the 1950s and the 60s, with experimental presentations by theater groups like “Rangāyan”. Actors in these theater groups like Shreerām Lāgoo, Mohan Agāshe, and Sulabhā Deshpānde brought new authenticity and power to Tendulkar’s stories while introducing new sensibilities in Marathi theater.
Tendulkar wrote the play, “Gidhāde” (The Vultures) in 1961, but it was not produced until 1970. The play was set in a morally collapsed family structure and explored the theme of violence. In his following creations, Tendulkar explored violence in its various forms: domestic, sexual, communal, and political. Thus, “Gidhāde” proved to be a turning point in Tendulkar’s writings with regard to establishment of his own unique writing style.
Based on a 1956 short story, “Die Panne” (“Traps”) by Friedrich Dürrenmatt, Tendulkar wrote the play, “Shāntatā! Court Chālu Aahe” (“Silence! The Court Is In Session”). It was presented on the stage for the first time in 1967, and proved as one of his finest works. Satyadev Dubey presented it in movie form in 1971 with Tendulkar’s collaboration as the screenplay writer.
1970s and ’80s
In his 1972 play, Sakhārām Binder (Sakhārām, the Binder), Tendulkar dealt with the topic of domination of the male gender over the female gender. The main character, Sakhārām, is a man devoid of ethics and morality, and professes not to believe in “outdated” social codes and conventional marriage. He accordingly uses the society for his own pleasure. He regularly gives “shelter” to abandoned wives, and uses them for his sexual gratification while remaining oblivious to the emo