Preface
Acknowledgements
Introduction by Kumar Ketkar
Volume One
Night One
Epilogue: It so happened
Introduction: First period, 1843 to 1880
First l plays : VishnudasBhave-Sita Swayanvar(mythological plays)
First plays: Mahatma Jyotiba Phule -Truteeya Ratna
First plays: Bookish/historical plays, V.J. Kirtane-'Thorale Madhavrao Peshawe'
Night Two
Initial social plays: Raghunath Shankarshastri Abhyankar -Prabodhvidyutarthat Swair Sakesha
M. B. Chitale-Manorama
First (translated) political play: Deenabandhu Mitra/ V. M. Walvekar -Neeldarpan
Night Three
Introduction-Farces
N. H. Bhagwat-More L.L. B. Prahasan
First period-1843 to 1880: Epilogue
Night Four
Second phase-1880 to 1930: Introduction
Beginning of musicals : Sangeetrangabhoomi: Annasaheb Kirloskar, SangeetShakuntal, and Sangeet Saubhadra
Early orthodox, cultural nationalist prose plays: Narayan BapujiKanitkar: Tarunishikshannatika, Sammativayachakayada
Reformist social plays: Govind Ballal Deval-Sangeet Sharada
Night Five
Beginning of political plays : Shankar Moro Ranade: 'Adhikardan Vivechanaathava Sthanik Swarajya Vataghat'
W. R. Shirvalkar: Rana Bhimdevathava Khara Rajput; B. H. Patwardhan: Ranasimhaani Bakulaathava Prachin Rajyakrantiche Chitra
Tilak and Marathi theatre
Night Six
Political plays of the second phase: Krishnaji Prabhakar Khadilkar, an introduction
Krishnaji PrabhakarKhadilkar : Sawai Madhavrao Yancha Mrityu, Kichakavadh, and Bhaubandaki
Cultural nationalist plays, second stage: Damodar Vishvanath Nevalkar -TarakMarak, Danddhari, Dharmarahasya
Night Seven
The second phase of Khadilkar's plays : Sangeet Manapman, Sangeet Draupad , Sangeet Menaka
Colonial censorship and response given by theatre
Melas and SatyashodhakiJalasas
Some more socio-political plays and discussion of historical plays: N C Kelkar-Totayache band, GovindraoTembe-Sangeet Patwardhan, and Krushnaji Hari Dixit-Raja Satvadhir
Night Eight
Start of experimental theatre: Ram Ganesh Gadkari -Sangeetpremasanyas, Sangeetekachpyala, and Sangeetmooknayak
Diwakar-Mag To Diwa Konta?
Theatre before 1930: Women and female impersonators
Night Nine
A playwright who started many socio-political trends :
Mama Warerkar-Kunjvihari
B. V. alias Mama Warerkar-Hach Mulacha Bap, Sannyasacha Sansar, Satteche Gulam, Turungachya Darat
Night Ten
Plays in favour of armed revolt and a different kind of social reform:
V. D. Savarkar-Ushshyap, Sanyasta Khadaga, Uttarkriya
Plays related to religious tensions and conversions : Shri Shankaracharya Kurtakoti-Gangasammati Athava Hidukaran Manyata
Night Eleven
Initial Leftist Plays/ plays about labour : B. V. Alias Mama Warerkar-Sonyacha Kalas, Madhavrao Narayan Joshi-Sangeet Giraniwala, Ganeshshastri Phatak-MaziJamin
Changes in political theatre after 1920: M. N. Joshi-Sthanik Swarajya
V. S. Khandekar-Rankache Rajya, P.K. Atre-Mee Ubha Aahe
Night Twelve
Some other socio-political currents 1 : K. H. Dixit -Sundarmath; V. H. Aundhkar-Bebandshahi, Agryahun Sutka; Different representation of Gandhism-Y. N. Tipnis: Rajranjan; Remembering Tilak-B. N. Pande : Sangeet Punaragaman
Some other socio-political currents 2 : VasudevKhare-Ugramangal
G. V. Shetye- Rakshabandhan; Veer Vamanrao Joshi's Discussion plays: Dharmasinhasan, Ranadumdubhi
Second period, 1880 to 1930: Epilogue
Night Thirteen
Third period, 1930 to 1955: An introduction
Next stage of modernity and professionalism: S. V. Vartak-Andhalyanchi Shala
Next stage of bahujan theatre-A Fresh Breath of Freedom-Ambedkari Jalsas
Middle-class escapist theatre: N. S. Phadke -Yugantar
Night Fourteen
Prabodhankar K. C. Thackeray-Taklel Por, Khara Brahman
V. V. Shirwadkar-Dusra Peshwa
Political plays after 1930: D. N. Dhikhare-Aathe Sal; G. K. Bodas-Pujya Gandhiji; An important Gandhian play: G.Y. Chitnis-Nava Payeek
Night Fifteen
Plays on women's issues after 1930: K.P. Khadilkar-Sangeet Bayakanche Band, P.K. Atre -Gharabaher, Jag Kay Mhanel
M. G. Rangnekar-Kulwadhu; One remarkable feminist play :B. V. Warerekar-Bhumikanya Sita
Third Period-1930 to 1955: An epilogue
Volume Two
Night Sixteen
Prologue: Post-Independence Period
Vigorous energetic theatre: Introduction to the Working Class theatre
Anna Bhau Sathe-Inamdar
Anna Bhau Sathe-Nave tamashe
Gavankar-Swargalokchabatmidar
Night Seventeen
Rashtrasevadal Kalapathak : An introduction
VasantBapat-Sarvaklayan; P.L. Deshpande-Pudhari Pahije
NiluPhule-Yera Gabalyache Kaam Nohe; Ram Nagarkar, Dada Kondke-Laal Cheenchya Aakramanacha Farce; Jaywant Dalvi-Vatvaghool
Night Eighteen
First phase-1950 to 1985: An introduction
The playwright who woke up Marathi theatre that was trapped in entertainment and psudo-sentimentality with a start and forced it to grapple with reality: Vijay Tendulkar-Shrimanta
Night Nineteen
Four pillars of entertainment oriented commercial middle class Marathi theatre : One: Bal Kolhatkar-DuritancheTimirJao
Two : P. L. Deshpande (First Phase)-Tuze Aahe Tujpashi
Three: Vasant Kanetkar (First Phase)-Vedyachegharunhat
VasantKanetkar-Prema tujharangakasa, RaigadalaJeva Jag Yete, Ashrunchi Zali Phule
Four: V. V. Shirwadkar-Natsamrat
Night Twenty
Vijay Tendulkar (The Second Stage)-Gidhade
Vijay Tendulkar-Shantata! Court Chalu Ahe
A remarkably experimental playwright : Khanolkar-Ek Shunya Bajirao
Khanolkar-Avadhya
Night Twenty-One
The second stage, 1965 to 1975-80: An introduction
Vijay Tendulkar (The Third Stage) -Ghashiram Kotwal
Vijay Tendulkar-Sakharam Binder
Night Twenty-Two
Playwrights who took experimentation to the next level:
Mahesh Elkunchwar- (The First Stage) Introduction
Mahesh Elkunchwar -Garbo, Vasanakand, Party
Mature political thetare : G.P. Deshpande (The First stage) -Udhvasta Dharmashala
Night Twenty Three
Satish Alekar (The First Stage) -Mahanirvan
Satish Alekar-Begam Barve
Satish Alekar -Mahapur
AchyutVaze -Chal Re Bhpalya Tunuk Tunuk
Volume Three
Night Twenty Four
Commercial theatre at the next stage: Jayawant Dalwi (The First Stage)-Sandhyachhaya, Barrister
JayawantDalvi-Suryasta
Kanetkar (Second stage)-Beimaan; P.L. Deshpande (The Second Stage)-Ti Phularani
Night Twenty Five
Incisive Political theatre-Dalit theatre : An introduction
M.B. Chitnis-Yugayatra; B. S. Shinde-Kalokhachya Garbhat; Premanand Gajvi-Ghotbhar Pani, Devnavari
PremanandGajvi-Tanmajori; Texas Gaikwad-Amhi Deshache Marekari; Ramnath Chavan-Sakshipuram, Baamanwada
Datta Bhagat-Khelia, VataPalwata
Night Twenty Six
The third stage, 1975-1985: An introduction
Vijay Tendulkar (Third Phase)-Kamala, Kanyadan
Night Twenty Seven
Mahesh Elkunchwar (Second Phase)-The Trilogy of 'Wada Chirebandi': An introduction
Mahesh Elkunchwar: Trilogy-Wada Chirebandi, Magna Talyakathi, Yugant
Night Twenty Eight
Ratnakar Matkari -Lokakatha 78; P.L. Deshpande (Third Phase) -Teen PaishachaTamasha
Jayawant Dalvi (Second Phase)-Purush
Night Twenty Nine
G.P. Deshpande (Second Phase)-Andharyatra
G. P. Deshpande (Second Phase)-Satyashodhak
Satish Alekar (Second Phase)-Dusara Samna, Atireki
Night Thirty
Post 1985: Contemporary theatre: Some important currents and Epilogue
References
Bibliography
Index
About the author