CHAPTER – VIII
CONCLUSION
In the mid nineteen fifties in British theatre ‘Angry young men’ like Osborne, Amis and others with their theatrical works stirred the English society. They came out as angry young men and described various forms of social alienation and radical political views in their works. In Indian drama Vijay Tendulkar appeared on the scene in the later 1960s with his powerful plays like Kamala, Silence! The Court is in Session, Sakharam Binder, The Vultures, Ghashiram Kotwal, and Encounter in Umbugland. As a corollary Tendulkar had acquired the epithet of angry young man of Marathi theatre, but now he is definitely marked out as a rebel against the established values of the fundamental orthodox society. Vijay Tendulkar has twenty-eight full length plays, twenty-four one-act plays, and eleven children’s drama to his credit. Most of his plays have been translated into English and in some other languages of India. Though some of his plays are controversial in theme, yet they are read and enjoyed as they contain a very rich and beautiful literary projection. The beauty in most of his plays lies in Tendulkar’s art of dramaturgy, his connotative and metaphoric structure suffused …show more content…
These demons are initially created by political leaders for the purposes of their own power games, but ultimately go out of control and threaten to destroy their own creators. Therefore, unless we understand the power game in the play we are likely to miss the theme. The play is appreciated for many a quality. It accentuates the intricacies and intrigues of power politics and sex impinging upon the corridors of power. Nana Phadnavis is a true example of such kind of politics where the ethics, morals and good work do not find a place of respect. It is the power and the power only that is important and
CONCLUSION
In the mid nineteen fifties in British theatre ‘Angry young men’ like Osborne, Amis and others with their theatrical works stirred the English society. They came out as angry young men and described various forms of social alienation and radical political views in their works. In Indian drama Vijay Tendulkar appeared on the scene in the later 1960s with his powerful plays like Kamala, Silence! The Court is in Session, Sakharam Binder, The Vultures, Ghashiram Kotwal, and Encounter in Umbugland. As a corollary Tendulkar had acquired the epithet of angry young man of Marathi theatre, but now he is definitely marked out as a rebel against the established values of the fundamental orthodox society. Vijay Tendulkar has twenty-eight full length plays, twenty-four one-act plays, and eleven children’s drama to his credit. Most of his plays have been translated into English and in some other languages of India. Though some of his plays are controversial in theme, yet they are read and enjoyed as they contain a very rich and beautiful literary projection. The beauty in most of his plays lies in Tendulkar’s art of dramaturgy, his connotative and metaphoric structure suffused …show more content…
These demons are initially created by political leaders for the purposes of their own power games, but ultimately go out of control and threaten to destroy their own creators. Therefore, unless we understand the power game in the play we are likely to miss the theme. The play is appreciated for many a quality. It accentuates the intricacies and intrigues of power politics and sex impinging upon the corridors of power. Nana Phadnavis is a true example of such kind of politics where the ethics, morals and good work do not find a place of respect. It is the power and the power only that is important and