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Post independence, the 50s and 60s marked a period of transformation in various fields within India. Marathi theatre, previously entangled in melodrama and mediocrity, was also undergoing this change. Esteemed individuals such as Bhau Padhyay, Jayavant Dalvi, and Vijay Tendulkar played pivotal roles in bringing about this transformation. Vijay Tendulkar, a former journalist who later ventured into playwriting, novel writing, short story writing, and screenplay writing, depicted the true, unattractive aspect of the Indian middle class that many deemed uncomfortable. This brutally honest portrayal of reality often led to controversies, as he confronted bans and censorship boards to effectively communicate his message to the audience.
Tendulkar was renowned for being a playwright far ahead of his time.
During the 60s and the 70s, Tendulkar's plays were staged amidst an optimistic and self-contained society. Although hopeful for change, this society was resistant to the harsh realities that Tendulkar addressed in his works. Tendulkar explored themes such as revenge, hypocrisy, patriarchy, and violence, which remain relevant even after fifty years.
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His plays specifically targeted the middle class and unintentionally shocked them by exposing their hidden, unattractive side. Tendulkar accurately depicted the intricate relationship between ordinary individuals and society without adopting a moral standpoint.
Vijay Tendulkar was known for his attempts to find realistic solutions to violence and hypocrisy without being too naïve and simplistic. His plays revolved around the central theme that ‘situations make men behave like animals towards other men’, which he effectively portrayed in his works. Tendulkar was the first playwright to introduce Marathi theatre outside Maharashtra.
Works such as Shantata! Court Chalu Aahe, Kamla, Kanyadaan, Sakharam Binder, Ghashiram Kotwal, Gidhade, Baby, and Ashi Paakhre Yeti created ripples not only in Maharashtra but also in other places. The timelessness of his works, the multiple layers to each story, and the amoral stand taken by most of his leading characters establish Vijay Tendulkar as one of the greatest Indian playwrights of all time.
Shantata! Court Chalu Aahe
Shantata! Court Chalu Aahe tells the story of Leela Benare, a young, single, independent actress and school teacher. The play revolves around a mock trial in which her fellow actors accuse her of infanticide. Initially meant as a joke, it is revealed that Leela is actually guilty of aborting her illegitimate child with a married man. Throughout the play, we see Leela's transformation from a playful and happy young woman to someone who uses her playful nature as a defense mechanism against society and reality. Tendulkar exposes the hypocrisy and double standards of the middle class, highlighting the significant role that morals play in society. Leela is subjected to mental trauma by her peers Sukhatame, Karnik, Mr. and Mrs. Kashikar. The central theme of the play explores how independent, urban educated women are treated and looked down upon in a patriarchal society.
Benare faces societal backlash for her personal choices, leading to her experiencing immense psychological trauma which causes her to pass out. Mrs. Kashikar attempts to provide comfort in the end. According to Satyadev Dubey and Vijaya Mehta, Shantata! Court Chalu Aahe is Tendulkar's most significant work, portraying profound psychological violence and exposing the hypocritical nature of the middle-class society. Dubey further suggests that the middle class fails to recognize the violence within themselves, making them perceive the play differently. Despite being originally performed in 1968, Shantata! Court Chalu Aahe remains relevant today. Our current patriarchal society still views educated and independent women as a threat while stigmatizing sex and condemning promiscuity as sinful. Tendulkar's characters highlight the enduring presence of moral double standards in society.
Tendulkar discusses how society often interferes in people's lives. In the play, Benare is compelled to reveal personal details to a group of individuals. Unfortunately, instead of offering assistance, these people are likely to judge and potentially mock her. This pattern is not uncommon in today's society. We always seem to be curious about others' experiences, as evident by the popularity of celebrity gossip in TV shows and newspapers. Expanding on this idea, it can also be observed how the media prioritizes sensationalizing certain matters at the expense of individuals' privacy.
The play lacks a positive conclusion, as Benare's unconsciousness represents society's triumph over an individual. This notion remains relevant today, as society's superiority over the individual is evident in various aspects of life. Examples include the censorship of artists due to societal reaction outweighing their right to self-expression and the arrest of individuals for allegedly making provocative statements according to societal interpretation.
Sakharam Binder
The play "Sakharam Binder" revolves around Sakharam, Laxmi, and Champa. Sakharam, a bookbinder, lives by the belief that he can defy society and live life on his own terms as long as he remains truthful. He takes in women abandoned by other men and uses them for both sexual pleasure and domestic work. Sakharam considers himself a savior for these women and believes he can treat them however he pleases because of this. Laxmi, Sakharam's seventh "temporary wife," is depicted as timid, caring, and submissive. In contrast, Champa is a loud, vulgar, and violent woman who replaces Laxmi in Sakharam's life and home. This love triangle pushes Laxmi to extreme measures in an attempt to convince Sakharam to kill Champa, whom she sees as a rival for Sakharam's affection. Tendulkar skillfully portrays each character's dual nature in "Sakharam Binder." Initially depicted as a victim of Sakharam's abuse and humiliation, Laxmi ultimately gains control over him by making him do her bidding.
Initially disliked by the audience, Champa wins them over with her gentle demeanor. However, she tragically meets her end at the hands of Sakharam, a man easily swayed by his impulses. At first, Laxmi manages to tame the rough Sakharam and make him more civilized, but Champa later turns him into a frustrated alcoholic. Despite his violent nature, Sakharam is powerless against Champa's influence and becomes a slave to his own sexual desires. The play is not solely focused on violence but rather depicts natural acts of violence that stem from the characters' backgrounds and circumstances. Tendulkar effectively shocks the respectable middle class by exposing the raw and vulgar aspects of society through Sakharam Binder and its depiction of violence through sexual themes.
The text illustrates the portrayal of relationships between Sakharam and Laxmi, as well as Sakharam and Champa, as being characterized by sensuality and violence rather than love and affection. Presently, Sakharam Binder serves as a narrative about a man who delves into previously unknown aspects of himself due to his weakness and frustration. Initially despised by the audience, Sakharam eventually becomes a figure for pity. Tendulkar's exploration and depiction of human nature is what makes Sakharam Binder a timeless play. Sakharam, Laxmi, and Champa are all victims of their circumstances. The play's theme that certain situations can result in individuals behaving like animals towards one another remains relevant even in contemporary times.
Ghashiram Kotwal
Ghashiram Kotwal is a unique play by Vijay Tendulkar, distinct from his other works which typically revolve around middle-class society. This political period drama is set in Pune during the era of Peshwa rule. The prominent figures in the story include Ghashiram Savaldas, a Kanauj Brahmin, and Nana Phadanavis, the Peshwa's chief minister. The narrative follows Ghashiram, who endures mistreatment in Pune and resolves to give the city a lesson. He strikes a deal with Nana Phadanavis, offering his daughter in exchange for the position of chief of police in Kotwal. Upon assuming the role, Ghashiram seeks revenge and transforms Pune by tormenting innocent Brahmins. The play concludes with Nana Phadanavis issuing orders to kill Ghashiram. Overall, the play delves into themes of sexual politics, power dynamics, and vengeance. Tendulkar aimed to illustrate the interdependence between the symbolic characters of Nana Phadanavis and Ghashiram Savaldas—wherever there is a Nana, a Ghashiram will also emerge, and vice versa. Although it unfolds against a historical backdrop, the play's significance remains relevant even today. Tendulkar crafts a fictional narrative while drawing inspiration from the historical figure of Nana Phadanavis.
The play, written in 1972, comments on the rise of the Shiv Sena and the Congress's role in enabling this rise. Tendulkar depicts the way Nana elevated Ghashiram, leading him to become a threat to Nana, only to eventually dispose of him. This mirrors how the Congress permitted the Sena to flourish in Bombay until it became a nuisance even to the Congress itself. This situation remains pertinent in today's politics. In Ghashiram Kotwal, Tendulkar aims to illustrate a similar idea as seen in America's handling of Osama Bin Laden - allowing his uncontrolled growth and then brutally eliminating him. Tendulkar also uses Ghashiram Kotwal to portray violence.
The theme of the story is not the main focus; however, it intertwines with the plot. The story explores physical violence and exploitation that occurs as a result of power. Throughout the play, Ghashiram, driven by revenge and intoxicated by power, commits numerous atrocious acts against the Brahmins of Pune. Ghashiram's hunger for revenge leads to immense injustice against his daughter, Lalita Gauri. Tendulkar uses this trade-off between Ghashiram and Nana to highlight the role of women and sex in power politics.
In the story, it is emphasized that women play a role in the power struggle but only as sacrificial figures. A character named Ghashiram gives his young daughter to Nana, who impregnates her. Unfortunately, Lalita Gauri dies while giving birth. This highlights the idea that women in the story are primarily seen as objects for sexual gratification and are sacrificed to fulfill their father's desire for revenge. Although initially perceived as a light-hearted comedy, the musical production of Ghashiram Kotwal delves into multiple layers, revealing the sinister and repugnant nature of revenge.
Tendulkar and feminism
According to Vijaya Mehta, Vijay Tendulkar was seen as a chauvinist. Despite focusing on female characters such as Leela Benare, Laxmi, Champa, and Lalita Gauri, his plays actually revolved around society as a whole. The women in his plays always ended up being mistreated. However, Tendulkar was a visionary writer who did not pass moral judgment on his female characters for their promiscuity, use of foul language, or submissiveness. He portrayed reality and perhaps his idea of feminism was rooted in this reality – he demonstrated that society does not accept independent women and that women are often objectified.
Tendulkar demonstrated that regardless of how a woman is treated, she will ultimately return to her man because she has accepted him with all his imperfections and sees him as her only option. In all of his plays, Tendulkar exposes patriarchy and evokes empathy for the women involved. Unfortunately, society only views these women through the lens of a patriarchal system. They never achieve victory in his plays or establish themselves as respected members of society. However, the audiences are able to see the worth of these women. Tendulkar's role as a feminist was to make audiences recognize that it is society, including both men and other women, that denigrates and morally judges women. He forces audiences to confront the unsightly aspects of themselves that they would typically shy away from.
Transformation of Marathi Theatre: The Impact of Vijay Tendulkar. (2016, Dec 17). Retrieved from https://studymoose.com/vijay-tendulkars-works-and-society-essay
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