Ghasiram Kulkar Analysis

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POWER POLITICS AND REVENGE IN VIJAY TENDULKAR’S “GHASIRAM KOTWAL

Abstract: In this paper, I present “Ghasiram Kotwal” as the most celebrated play of Vijay Tendulkar. It is a dramatic exposure of violence, treachery, sexuality, and immorality that characterize contemporary politics. It is appreciated that 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 maddening.
Keywords: Brahmins, courtesan, cruelty, deception, humiliation, hypocrisy, lustful, power of politics, saffron and sex.
Introduction:
Vijay Tendulkar has been in the Vanguard of not just Marathi but Indian theatre for almost forty years as rightly pointed by Arundhati Banerjee. He not only pioneered the experimental theatre movement in Marathi but also guide it. Chandrasekhar Barve points out “we can say with certainty that Tendulkar has guided Marathi drama that seemed to have lost its proper track, and has kept leading it for over two decaders. His place and importance in this respect shall remain unique in the history of Marathi drama”.1
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In spite of his success in every genre, this versatility as a writer has been over shadowed and used by his fame as a dramatist since drama has been his forte. He becomes one of the leading play wrights with his play, ‘Silence! The court is in Session’ in the late Sixties and his Ghasiram Kotwal won him international reputation in the1970’s. He won various awards, which include the Sangeet Natak Akademi Award, the Padma Bhushan and the Kamala Devi Chattopadhyaya Award. His ‘Ghasiram Kotwal’ was branded as an anti-Brahmin play and his Kanyadaan as an anti-Dalit play. Talking about the reaction to his Kanyadaan, Tendulkar

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