Zeitschriftenartikel: „VIJAY TENDULKAR“

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Tiwari, Dr Devendra Kumar. „Tradition and Modernity in the plays of Vijay Tendulkar’s“. SMART MOVES JOURNAL IJELLH 7, Nr. 12 (28.12.2019): 14. http://dx.doi.org/10.24113/ijellh.v7i12.10222.

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Present paper is a holistic attempt to focus on depiction of tradition and modernity in the plays of Vijay Tendulkar. One might also say that modernity is an economic force with social, cultural, and political correlatives. Tradition is a cultural force with social, economic, and political correlatives. Vijay Tendulkar in his plays reveals not only traditional but also modern trends. He has made an amalgamation of tradition and modernity in his plays. They are intertwined with tradition and modernity. In Tendulkar’s plays, one can clearly see his acute observation of life. The event and incidents depicted in his plays have their origin in real life. While projecting the social reality, he uses the fine balance between tradition and modernity. Tendulkar is not a traditional but a new (modern) playwright.

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Panguni Malar, R. „The Theme of Misogyny: A Study of the Select Plays of Vijay Tendulkar“. Shanlax International Journal of English 9, S1-i2-Dec (22.12.2020): 40–46. http://dx.doi.org/10.34293/english.v9is1-i2-dec.3692.

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This study is an investigation of the theme of misogyny as represented by the female characters in the select plays of Vijay Tendulkar. The study argues that the Indian cultural context leaves space for man to be superior and woman to be inferior. The term misogyny denotes hatred, dislike, or mistrust of women, manifested in various forms such as physical intimidation and abuse, sexual harassment and rape, social shunning and ostracism, etc. In most of the plays of Vijay Tendulkar women stand to be the objects of subjugation in the hands of their male counterparts with whom they happen to connect with in the hope of leading their normal life. Tendulkar’s plays display a wide range of complex behaviours those constitute different forms of violence – physical attacks and verbal abuses. A thorough analysis of the situations and circumstances related to women in Vijay Tendulkar’s plays reveal that the domestic, personal, political and social ambience in which the characters live in contribute them much violence physically, sexually, psychologically and verbally. As Tendulkar’s plays stand for the middle class society, the man in his plays quite often is brutal towards his female counterpart with his deep rooted ideologies. The paper’s finding speaks on how the woman characters evolve to be strong individuals amidst their adverse ambience.

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Islam, Md Alemul. „Parallel Interplay between Tradition and Folk Theatre: A Study of select works of Vijay Tendulkar“. International Journal of English Literature and Social Sciences 8, Nr. 5 (2023): 210–14. http://dx.doi.org/10.22161/ijels.85.34.

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Folk theatre is the root of modern Indian drama, and with the advancement of modernity, folk theatre keeps balancing the dynamic aspect of modernity. Most of India's well-known playwrights overcame the limitations of regional language throughout the 1970s and produced a number of excellent plays on a national scale. The majority of their experimental productions were focused on incorporating Indian folk theatre components or performance traditions into mainstream theatre. As a result, we see Utpal Dutt using Jatra in Surya Sikar and Girish Karnad adopting Yakshagna, a traditional type of theatre, in his play Hayavadana (1972). In order to create a new type of theatre that he called the "Third Theatre" or "Street Theatre", Badal Sircar experimented with incorporating folk elements into proscenium theatres. Similar to his contemporaries, Vijay Tendulkar also experimented with many types of folk drama in Ghasiram Kotwal (1972) and other plays. The current study is an integrated effort to concentrate on how tradition and modernity are portrayed in Vijay Tendulkar's plays. Another way to put it is that modernity has economic, social, cultural, and political ramifications. A cultural driving force with social, economic, and political ramifications is tradition. Vijay Tendulkar explores both conventional and contemporary tendencies in his plays through folk theatre. In his plays, he combines elements of heritage and modernism. They are entangled with both modernity and tradition. One may easily notice Tendulkar's keen observation of life in his plays . He strikes a delicate balance between tradition and contemporary in expressing the social realities . The purpose of this article is try to understand how Tendulkar employed various folk theatre styles to express power dynamics and the outcome of oppression, a very modern and postcolonial subject, on stage.

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Dr. Neetu Kumar. „Social and Sexual Exploitation of Women in Vijay Tendulkar’s Sakharam Binder“. Creative Launcher 8, Nr. 5 (31.10.2023): 113–19. http://dx.doi.org/10.53032/tcl.2023.8.5.12.

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Vijay Tendulkar's dramatic piece, Sakharam Binder, stands out as a critical examination of the sociocultural paradigms that perpetuate the exploitation of women. This article delves into the multiple layers of oppression and discrimination faced by the female protagonists and situates the play within the broader context of postcolonial Indian society. Tendulkar, through his audacious characters and narratives, throws light on the deep-rooted patriarchal norms that dictate female subjugation. The central figure, Sakharam Binder, is both a product and propagator of these entrenched societal beliefs. As a man who provides shelter to destitute women in exchange for domestic and sexual services, Sakharam becomes the embodiment of male entitlement and dominance. The women in his life, including Laxmi and Champa, become representative of the countless women whose identities are stifled by a male-centric worldview. Laxmi, the submissive, and Champa, the defiant, are instrumental in demonstrating the spectrum of female experiences under the weight of patriarchal constructs. While Laxmi's meek surrender highlights the internalization of patriarchal values, Champa’s rebellion underscores the dire consequences women face when challenging the status quo. Tendulkar masterfully juxtaposes these characters to critique the ways in which society polices and punishes deviance from gendered expectations. The spatial dynamics within Sakharam's house serve as a potent metaphor for the wider societal space where women are confined, controlled, and commodified. The narrative underscores how economic dependency and cultural conditioning become tools of subjugation, forcing women into cycles of exploitation. Tendulkar’s sharp, unflinching portrayal of the social and sexual exploitation of women demands introspection and reform, making the play a significant contribution to postcolonial Indian literature and feminist discourse. The play provides the various themes and concerns related the middle-class psyche.

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M. Gayatri, Dr. „Revisiting Sarita as Sita: A Comparative Study of Vijay Tendulkar’s Kamala“. International Journal of English Literature and Social Sciences 7, Nr. 4 (2022): 379–81. http://dx.doi.org/10.22161/ijels.74.57.

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Vijay Tendulkar, the frontline of Indian theatre, is well known for sensitising his audience and readers of the dogmas of this cultural society. The social order , once framed are discerning the women as the weaker sex and eventually trapping the rights levered in the name of social structure weaved by the myth. Though engrossed with a pack of Indian nobility , femininity portrayed in the myths like the Ramayana often show the fragility loaded in abundance in the female protagonist- Sita. Thus while portraying the character of Sarita, Tendulkar intentionally or naively has brought out the character of Sita to the view of his audience. This research article is an attempt to bring out the magnetized but feebly tabulated character of Sarita by Vijay Tendulkar in his play Kamala.

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JOHARI, DR SANJAY. „Caste Conflict In Vijay Tendulkar’s Play ‘Kanyadan’“. Journal of Language and Linguistics in Society, Nr. 12 (18.11.2021): 7–11. http://dx.doi.org/10.55529/jlls.12.7.11.

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Literature is the mirror of society. This is so because literature gives shape to civilization and impacts on social norms. It changes the entire atmosphere. Mostly literature changes the political issues and it also exposes in justice. Literature presents before us the real human existence. In English literature there are many dramatists who present the emerging issues in the contemporary life. Girish Karnard, Mahesh Dattni and Vijay Tendulkar are the famous dramatists who show the mirrorto the society by their deft artistic excellence. Vijay Tendulkar one of the most celebrated marathi dramatists, who presents the realistic problems of human society which are emerging in contemporary life. No phase of problem is intouched with his literature that is not depicted in his writings. That is why his plays become the high criticism of Indian society. He penetrates into the inner souls of his characters, especially the women in patriarchal society. In this way Tendulkar presents the complexity of human relationship in contemporary life. He has shown conflicts, violence and sex characterized in his plays.

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Kumar, Ranjeev, und Indu Prabha. „MALE HEGEMONY IN THE PLAYS OF VIJAY TENDULKAR“. SCHOLARLY RESEARCH JOURNAL FOR HUMANITY SCIENCE AND ENGLISH LANGUAGE 9, Nr. 46 (01.08.2021): 11218–22. http://dx.doi.org/10.21922/srjhsel.v9i46.1526.

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In the sphere of drama, the name of Vijay Tendulkar does not require any introduction. In the galaxy of Indo-Anglo playwrights, Tendulkar is one of the most shining stars. Marathi Theatre is incomplete without the contribution made by Vijay Tendulkar. This Marathi literary figure is a multifaceted personality. He is the one who brought revolution in Marathi Theatre. An avant-garde playwright, Tendulkar has shown versatility by writing several works including one-act plays, children’s plays, short stories, essay collections etc. Vijay Tendulkar is the mouthpiece of the oppressed women in male dominant society. He has deep insight into human nature. He has proved in his plays that it is the male dominant society that does not allow woman to rise from the status of man’s foot. They are exploited, tortured, taunted both physically and emotionally. They are considered inferior to male human beings as male human beings are victims of their superiority complex. Even in some of the societies they are treated as bane while the male child is hailed as boon. His plays depict that women are treated as mere commodities. He has shown how the voice of women is suppressed when they try to voice their concerns against the cruelties. He makes a psychological study of human characters in his plays. An analytical approach to his plays reveals that women are deprived of the life they wish to live. The present research paper focuses on his four plays, to bring to light the enslaved and exploited position of women in society. In ‘Sakharam Binder’ and ‘Kamala’ he brings to light how women are enslaved and exploited. In ‘Silence! The Court is in Session’ and ‘Kanaydaan’ he ascertains the fact that it is male human being who is responsible for the exploitation of women.

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Kumar, Dr Santosh. „Tendulkar’s Kanyadaan: A Critical Representation of Caste, Class and Gender“. International Journal for Research in Applied Science and Engineering Technology 11, Nr. 12 (31.12.2023): 2294–96. http://dx.doi.org/10.22214/ijraset.2023.57833.

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Abstract: One can see the primary difference between man and woman on the basis of their gender. This biasness depicts the biased mentality of men and their dominating society. It is seen in Indian English Drama that Gender consciousness is one of the most burning and dominating issue that Indian dramatists aim to reflect in their plays. After six decades of post - colonial account of Indian English fiction, we get that a wide-ranging range of playwrights have emerged concentrating consciousness on a huge figure of marvelous concerns whether economic, political, spiritual, and social. These playwrights confronted three corresponding periods of human experience. As we know that there is a large number of playwrights who emerged and focused on the burning issues of India. Among those Vijay Dhondopant Tendulkar is such a playwrights who not only see the social evils but also depicted on literary canvas as it should be. Tendulkar (1928 - 2008) is a foremost and televisio’s prominent Indian playwright. He wrote for movie and television. Besides these, he is a legendary essayist, radical columnist, and social interpreter too, chiefly in Marathi language. As we have me ntioned earlie r t hat Tendulakar has experie nced the problem, need and necessities of Indian societ y. In thi s way it can’t be argued that the most of Tendulkar’s plays derived motivation from real - life happenings orsocial disorders which helped him to provide a clear estimate of the punitive genuineness

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Rajeev Yadav und Dr. V. P. Singh. „Decoding Caste and Power-Structure in Tendulkar’s Kanyadaan“. Creative Launcher 7, Nr. 1 (04.03.2022): 16–21. http://dx.doi.org/10.53032/tcl.2022.7.1.03.

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Social structure is a power-structure where every social category reflects the power relations with other in hierarchy. Caste is one of the decisive derivatives in India to measure human relations. It is something which has defined the social hierarchy based on the birth of an individual. Caste has become the most striking method of discrimination of people in India with its maligned and fabricated interpretations. Indeed, it has been originated for distribution of people on the basis of their work for proper functioning of society. Vijay Tendulkar, a Marathi playwright and one of the founding pillars of Modern Indian Drama along with Mohan Rakesh, Badal Sircar and Girish Karnad, has discussed the problems of caste discrimination and general perspectives about inter-caste marriages in India in his play Kanyadaan. Through this play Vijay Tendulkar also tries to reflect his thoughts on contradictory relationship between imaginary idealism and harsh realism; and also on texture of modernity and social change in India through the marriage of two people of different castes and backgrounds. The present paper is an effort to analyse Tendulkar’s Kanyadaan, originally written in Marathi and later on translated into English, as social documentary on relationship between caste and social structure based on power-relations, caste-based discrimination, inter-caste marriage and pseudo-idealism prevalent in the course of social and cultural progress. The present paper also deals with decoding of the phenomenon of ‘violence’ employed in caste-based power relations in the society.

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Singhal, Dr Kamini. „Major Themes in the plays of Vijay Tendulkar“. International Journal of Applied Research 6, Nr. 10 (01.10.2020): 1086–88. http://dx.doi.org/10.22271/allresearch.2020.v6.i10p.9817.

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Thakar, Rishi A. „Social Concern In The Select Plays Of Vijay Tendulkar“. IOSR Journal of Humanities and Social Science 22, Nr. 2 (Februar 2017): 20–22. http://dx.doi.org/10.9790/0837-2202052022.

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Sirjii, Ramen Goswami. „Symbols of the songs by Leela Benare in Vijay Tendulkar’s play Silence! The court is in session“. SMART MOVES JOURNAL IJELLH 9, Nr. 7 (28.07.2021): 77–84. http://dx.doi.org/10.24113/ijellh.v9i7.11124.

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The current study explores and sheds light on the trials and tribulations of an independent Women, Miss. Leela Benare, in Vijay Tendulkar’s play Silence! The Court is in session. Here Tendulkar dwells on gender Discriminations. Till the commencement of the mock- trial, Benare is the most cheerful, talkative Character. She makes comments on her own independent life, on the behaviour of her fellow actors, she Sings and shows her vitality and assertiveness even in the second act when the mock trial with her as the Accused begins. In this context her songs are relevant to the structural design of the play as well as these Highlight the mental agony and pangs of a deep rooted mother. In Silence! The Court is in Session, though the dialogues of the characters are set in unvarnished prosaic terms, four songs and one poem have been used in order to add lyrical flavour to unvarnished language of reality. Tendulkar has these songs sung by Benare, the protagonist of the play, not by other characters. A song is no doubt a lyric that expresses a set of emotion, feeling and ideas and thereby exposes the psychic life of the speaker. The four songs in the play, of which two are derivative and the other two are composed by the dramatist, are set in Benare’s mouth in order to equip the woman with the right to narrate her life in lyrical terms.

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Mr. Nagesh Lakhanlal Sable. „Feminine and Feminist Sensibilities in the Select Plays of Vijay Tendulkar“. Creative Launcher 4, Nr. 4 (31.10.2019): 57–61. http://dx.doi.org/10.53032/tcl.2019.4.4.10.

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The present research is an immense endeavour to explore feminine and feminist sensibilities in the select plays of Vijay Tendulkar. It attempts to find out the place and position of women besides the root causes of gender inequality in the male dominated social structure. It is a minute study of weak and strong female characters who lose their identity and freedom for the sake of their male counterparts and for so called social conventions. Furthermore, it shows a sordid picture of patriarchal social structure, it's hallow moral standards, the gloomy facet of middle class life in the context of contemporary India where women undergo a series of sufferings and age-old tortures. It truly underlines the worst and obscure sensibilities of women in the light of several past centuries. Also it projects women's efforts in order to fulfill their desire for uplifting from the burdens of customs and norms. This study endeavours to analyse the psychological problems, dilemmas, conflicts and a series of sufferings and tortures of women at various levels in the light of select plays. It also concerns with women's striving for survival with respect and honour, their demand of freedom, dignity, equal rights and the perfection.

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Patra, Mintu. „POWER POLITICS IN GIRISH KARNAD’S HAYAVADANA AND TUGHLAQ“. JOURNAL OF ENGLISH LANGUAGE AND LITERATURE 10, Nr. 04 (2023): 17–21. http://dx.doi.org/10.54513/joell.2023.10404.

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Through the centuries, Indian drama has been one of the means of discovering how a human being can achieve an optimal human existence–cultural, social, political, material, and spiritual. The staging of patriotic plays in modern Indian theatre boosted operative energy in the freedom movement. The spirit of liberty provided significant impetus to the revival of various forms of performing arts. After independence, Karnad, along with other playwrights such as Vijay Tendulkar, Mohan Rakesh, and Badal Sircar, conducted 101 theatrical and thematic experiments in order to free individuals from the shackles of superstitiously internalized socio-cultural constructs.

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Singh, Aditya. „Evaluating Patriarchy in Select Works of Mahesh Dattani, Girish Karnad and Vijay Tendulkar“. International Journal for Research in Applied Science and Engineering Technology 11, Nr. 5 (31.05.2023): 5169–75. http://dx.doi.org/10.22214/ijraset.2023.52412.

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Abstract: This research paper critically evaluates the theme of patriarchy in select works of three renowned Indian playwrights: Mahesh Dattani, Vijay Tendulkar, and Girish Karnad. Patriarchy, as a pervasive social system, influences power dynamics, gender roles, and relationships within societies. The objective of this study is to analyze how these playwrights explore the manifestations and consequences of patriarchy through their dramatic works. Through a comparative analysis of these playwrights' works, this study aims to highlight the diversity of approaches and perspectives in portraying patriarchy within Indian theatre. By evaluating patriarchy through the lens of these eminent playwrights, this research provides a deeper understanding of the social, cultural, and political factors that shape gender dynamics in contemporary Indian society.

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Shukla, Sudhir Krishna, Rashi Srivastava und Kum Kum Ray. „Translating Land into Stage: Observations on the Patterns and Presentations in Girish Karnad’s ‘Hayavadana’ and ‘Nagamandala’“. International Journal of English Literature and Social Sciences 9, Nr. 2 (2024): 218–26. http://dx.doi.org/10.22161/ijels.92.32.

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This research paper examines the patterns and presentations in Girish Karnad’s major plays. Girish Raghunath Karnad (19 May 1938-10 June 2019) was the foremost Kannada playwright of India. In addition to writing plays, he was also an actor, film director, and a Jnanpith awardee, who dominated in the fields of Hindi, Kannada, Tamil, Malayalam, Telugu, and Marathi films. His ascent to prominence as a playwright in the 1960s signaled the advent of contemporary Indian playwriting in Kannada as Badal Sarkar, Vijay Tendulkar, and Mohan Rakesh did in Bengali, Marathi, and Hindi respectively. He used his intellectual power to use distilled themes from history, folktales, and myths. He is able to give identity to Indian art and culture in other countries. Tughlaq(1964), Yayati(1961), Hayavadana(1971), Hittina Hunja(1980), Nagamandala(1988), Tale-Danda(1990), Fire and the Rain(1995)

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Jha, Dr Suprita. „Tendulkar’s ‘Ghashiram Kotwal: An Illustration of Socio-Political Opportunism“. International Journal of English Literature and Social Sciences 3, Nr. 5 (2018): 927–30. http://dx.doi.org/10.22161/ijels.3.5.38.

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he development of modern theatre in India may be attributed to a change in the political set up in India. Post-Independence Indian theatre and drama got a new footing with the new found cultural confidence. The year 1972 turned out to be a landmark for the Indian vernacular theatre when Vijay Tendulkar’s Marathi play ‘GHASHIRAM KOTWAL’ made waves by its brilliant use of traditional folk forms in modern contemporary theatre. ‘GHASHIRAM KOTWAL’ has been in the controversy since its very inception. It was staged in 1972 but soon it was banned for its anti-Brahmin stance and the distortion of facts about great historical figure who played a key role in Maratha polity. The play reveals how the state is ruled by a defunct descendent of glorious Shivaji. The ruler is Peshwa but he is governing the state through his chancellor, Nana Phadnavis, who is cunning and crafty and knows no scruples. The people under his rule groan for want of freedom in speech and movement and honourable way of living. Ghashiram Kotwal grows up under the patronage of such a lecherous crafty man. He is ruthless and tyrant and prosecutes all-innocent as well as defaulters. Actually, Ghashiram Kotwal was harshly treated on his arrival to Poona with the intention of getting suitable employment to support his family and so, the spirit of vindictiveness never leaves him. Undoubtedly, ‘GHASHIRAM KOTWAL’ is a biting satire on contemporary society, police administration and power politics. It portrays the falling standards, degradation of society, the mannerism as well as the conduct of the citizens. The paper I propose to write brings forth this issue of corruption that is running rampant on all levels in this play and the police administration is no exception. As a matter of fact, the dramatist, Vijay Tendulkar, has brought under his focus the political and police administrations and their faulty ways of working as it is today or may be an extension of the yesteryears.

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Mohan, Aishwarya. „The Paradox of Women as Victims in the selected plays of Tennessee Williams and Vijay Tendulkar“. International Journal of English Literature and Social Sciences 6, Nr. 3 (2021): 201–4. http://dx.doi.org/10.22161/ijels.63.28.

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Kumar, Suresh. „Voicing the Suppressed Female Voices in a Male-Chauvinistic Society: A Study of Vijay Tendulkar’s Silence! The Court is in Session“. SMART MOVES JOURNAL IJELLH 9, Nr. 7 (28.07.2021): 119–29. http://dx.doi.org/10.24113/ijellh.v9i7.11129.

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Vijay Tendulkar (1928-2008) is considered a prominent Indian playwright, movie and television writer, literary essayist and social commentator primarily in Marathi in the twentieth century. The playwright acquaints the readers or the audience with the Indian socio-cultural milieu through the journey of characters in Silence! The Court is in Session. This paper aims at analyzing the perceptions of the people towards women in a male-dominated, patriarchal society. The paper will analyze that whether social sanctity, morality, ethics, values are applied to both genders i.e. man and women with the same lenses or favours any of them. If there are dual standards for measuring the character of an individual based on gender, how can one hope for justice? This paper will give an expression to the silenced, the hushed up, the repressed, the suppressed and the oppressed voices, liberating the women while interrogating the male-chauvinistic world.

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Gupta, Kanchana, und Mrinal Srivastava. „A Comparative Study of Vijay Tendulkar’s Kamala and Henrik Ibsen’s A Doll’s House“. IRA International Journal of Education and Multidisciplinary Studies (ISSN 2455-2526) 4, Nr. 3 (03.10.2016): 397. http://dx.doi.org/10.21013/jems.v4.n3.p6.

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<p><em> Vijay Tendulkar is hailed as one of the most influential dramatists in India since the last forty years. He is a prolific playwright with twenty-eight full length plays, twenty-four one–act plays, seventeen film scripts, eleven children plays and a novel in Marathi language to his credit. Many of his plays have been translated into English and other Indian languages. One of his plays Kamala published in 1981 was originally written in Marathi. It was later translated by Priya Adarkar. The play exposes the hypocritical attitude of the society towards women. It draws attention towards issues like the flesh market, the condition of typical Indian women (as portrayal through the characters of Sarita and Kamala), the unsolved discord in the marital lives of Indian couples etc. It also brings to our mind Henrik Ibsen’s play A Doll’s House which was published in 1879. The similarities in both these modern plays are beleaguered by their male characters and lucid imagery but the virtuous female characters here undergo unrelenting anguish. Both present a story of abent husbands who want a wife to behave just like puppet irrespective of whether she is literate or illiterate. </em></p>

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Dr. Abha Tripathi. „Sakharam Binder: A Narrative of Intrigues and Idiosyncrasies Eventuating in Devastation“. Creative Launcher 7, Nr. 4 (30.08.2022): 17–26. http://dx.doi.org/10.53032/tcl.2022.7.4.03.

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Vijay Tendulkar has been one of the biggest names of Marathi theatre. His drama has been the representation of stark realities and human misfortunes arising out of the human flaws. He gave theatre a completely new perspective. Most of his plays have foregrounded issues which were previously withheld from any stage representation. His focus has chiefly been on representing the plight of women of Indian society at the hands of the male chauvinists. Moreover, the males in his works have usually been the domineering set who have commodified or objectified women in some way or the other, but this play Sakharam Binder, has a very distinctive theme. This play runs on two explicit themes of idiosyncrasy and intriguing. This is one of those plays where it becomes substantially important to understand the changing human relationships eventually ensuing in the climax. This paper therefore throws much light on the characters and their idiosyncrasies and intrigues which make it contemplative for the readers and the audience to judge who is to be blamed more.

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Priyadharshini, L. „Portrayal of Women and their Mental Trauma in the Patriarchal Society through the Play ‘Kamala’ by Vijay Dhondopant Tendulkar“. International Journal of English Literature and Social Sciences 5, Nr. 6 (2020): 2182–84. http://dx.doi.org/10.22161/ijels.56.52.

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Saxena, Ritu. „Girish Karnad : A Tribute“. Dialogue: A Journal Devoted to Literary Appreciation 15, Nr. 1-2 (30.12.2019): 1–4. http://dx.doi.org/10.30949/dajdtla.v14i1-2.1.

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Girish Karnad is a writer, dramatist, director and actor par excellence. He belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay Tendulkar who have created a national theatre for modern India, which is the legacy of his generation. Jnanpitha Awardee, Karnad is the author of many well known plays in Kannada and English. He has represented Indian art and culture in foreign lands. Girish Karnad was a conscious writer, who had keenly observed cultural and political upheavals in India and brings in a new equation in his plays. In this paper, I propose to analyze the selected plays of Indian playwright Grirish Karnad who has experimented with the fusion of the traditional and the modern dramatic forms and content. Karnad is most famous as a playwright and his plays have become a byword for imagination, innovation and craftsmanship. In the subsequent years, Karnad continued to post script narratives, interpreting for us histories and myths, forging an idiom of writing that was tethered to both the past and present. Karnad's practice of drawing source from myths and tales lends the play an immediacy of appeal. This paper thus studies Karnad's selected plays from the point of view of themes and techniques. While doing so, the focus will mainly be on the history and myth in his dramatic works-Karnad's journey from his first drama 'Yayati holds a mirror to the very evolution of a truly 'Indian theatre.'

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Arya, Kavita. „Karnad's Yayati : A Study in the Eternal Conflicts of Mankind.“ Dialogue: A Journal Devoted to Literary Appreciation 15, Nr. 1-2 (11.12.2019): 23–29. http://dx.doi.org/10.30949/dajdtla.v14i1-2.4.

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With Vijay Tendulkar and Badal Sirkar, Girish Karnad is among the three greatest dramatists of post-independent Indian theatre. His most notable plays are Yayati, Nag-Mandala, Hayavadan and The Fire and the Rain. Yayati, his first play, was written initially in Kannad in 1961. For this play he received the Karnatak State award. Karnad was not a simple entertainer. His plays serve to instruct, entertain and enlighten, but there is also a purpose. Through his plays he tries to give his audience an exalted sense of duty with happiness, peace of mind and upliftment of moral values. In Karnad's view, only then can a human being be relieved of the sorrow and pain that he is subjected to in his endless run for pleasures. To achieve it, Karnad draws from the rich store of Indian mythological stories and the collective wealth of inherited culture and recreates the characters and old stories in a new way. He presents them as they originally are and also changes them completely. His genius for fusion of the mythology and modernity is unparalleled. The Yayati of Karnad is the best example of his creative concern, purpose and dramatic art. The human heart is never satiated; its endless craving for more and more pleasure leads it to tragedy. One fine example of this predicament is the story of king Yayati. The present paper would endeavor to study some important aspects of Karnad's Yayati in comparison with the original mythological story as also with the novel of same name by Vishnu Sakharam Khandekar

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Dayal, Dr Ashok. „Social Hypocrisies in Vijay Tendulkar’s The Vultures“. International Journal for Research in Applied Science and Engineering Technology 9, Nr. 9 (30.09.2021): 618–21. http://dx.doi.org/10.22214/ijraset.2021.38028.

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Abstract: Early plays in India were written in Bengali by Bengali writers which were mostly translated into English from Bengali in the 19th century. But drama in English failed to serve a local theatrical habitation, in sharp contrast to plays in the mother tongue (both original and in the form of adaptations from foreign languages); and the appetite for plays in English could more conveniently be fed on performances of established dramatic successes in English by foreign authors. Owing to the lack of a firm dramatic tradition nourished on actual performance in a live theatre, early Indian English drama in Bengal as elsewhere in India grew sporadically as mostly closet drama; and even later, only Sri Aurobindo, Ravindranath Tagore and Harindranath Chattopadhyaya produced a substantial corpus of dramatic writing. Between 1891 and 1916 Sri Aurobindo wrote five complete and six incomplete verse plays. Keywords: exploitation, sexual violence, homosexual, individuall degradation, consciousness, hypocrisies

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Bansal, Dr Shivali. „Portrayal of Oedipal Desires in Vijay Tendulkar’s The Cyclist“. International Journal of English Literature and Social Sciences 3, Nr. 5 (2018): 746–50. http://dx.doi.org/10.22161/ijels.3.5.8.

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Singh, Rameshwer. „Vijay Tendulkar’s Bestial Vision and Animal Imagery in Ghashiram Kotwal“. VEETHIKA-An International Interdisciplinary Research Journal 8, Nr. 2 (30.06.2022): 29–31. http://dx.doi.org/10.48001/veethika.2022.08.02.007.

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The recurrent and powerful animal imagery in Ghashiram Kotwal constitutes the very core of Tendulkar’s bestial vision of fallible human beings faltering under the influence of inordinate lust or being consumed by revenge, losing their human dignity and falling prey to an excruciating animal existence.

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Dr. Parul Tyagi et al.,, Dr Parul Tyagi et al ,. „Vijay Tendulkar's Kamala, Jibe at Value System of Yellow Journalism“. International Journal of English and Literature 11, Nr. 2 (2021): 41–46. http://dx.doi.org/10.24247/ijeldec20216.

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29

Jha, Dr Suprita. „Vijay Tendulkar’s ‘Ghashiram Kotwal: A creation of socio-political forces“. International Journal of Advanced Academic Studies 4, Nr. 1 (01.01.2022): 92–94. http://dx.doi.org/10.33545/27068919.2022.v4.i1b.688.

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30

Yeole, Rajesh Vishnu. „Vijay Tendulkar’s Ghashiram Kotwal as an Epitome of Critique on Protagonist Ghashiram and Antagonist Nana“. Journal of Advances and Scholarly Researches in Allied Education 15, Nr. 4 (01.06.2018): 189–92. http://dx.doi.org/10.29070/15/57410.

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31

Parikh., GirishRameshchandra. „DRAMATIC TECHNIQUE IN VIJAY TENDULKAR’S SILENCE! THE COURT IS IN SESSION“. International Journal of Advanced Research 4, Nr. 12 (31.12.2016): 924–26. http://dx.doi.org/10.21474/ijar01/2473.

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Dharwadker, Aparna. „Modernism, “Tradition,” and History in the Postcolony: Vijay Tendulkar’s Ghashiram kotwal (1972)“. Theatre Journal 65, Nr. 4 (2013): 467–87. http://dx.doi.org/10.1353/tj.2013.0111.

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33

Ghsoh, Tamal. „Questions of Female Gaze: Males Through Eyes of Females in Vijay Tendulkar’s Select Plays“. SMART MOVES JOURNAL IJELLH 9, Nr. 7 (28.07.2021): 151–59. http://dx.doi.org/10.24113/ijellh.v9i7.11140.

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Gaze, as defined by Oxford Advance learner’s Dictionary, “is an interested steady look at something or somebody” (642). The privilege of gazing presupposes or attributes some power in the onlookers. So, gaze is an expression of power, a way of looking, a point of view or a medium to establish and extend dominance. In a patriarchal set-up of society, the role of the onlooker is played most of the times by males, and according to Laura Mulvey, women are generally made to appear as the visual sex objects of male desire and pleasure. Here, my question is, do the females dare to return the male gaze in one way or another? I want to dwell upon the possibility of a reversed or altered picture of male gaze in the context of Tendulkar’s plays. So, let the females be the gazers and males be the gazed in the context of Tendulkar’s selected plays and let me make an attempt to study certain male characters as looked by certain female figures. Champa and Laxmi in Sakharam Binder, Leela Benare and Mrs. Kashikar in Silence! the Court is in Session and Sarita and Kamala in Kamala represent a polarity of ‘female eyes’. Champa, Leela Benare, and Sarita take guts to have a gaze at the body, activity, and position of their chauvinistic male counterparts and often, put a question mark to the so-called vanity of masculinity. But Laxmi, Mrs. Kashikar, and Kamala look at men in the way men want to be looked at with all of his power over them. In view of the above, I shall try to show whether there is a scope for an active female gaze? If yes, to what extent? Do they transgress their traditional roles imposed on them in returning the male gaze and open up a space for anti-male discourse?

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Rani, S. Sulekha, und Prof P. Padma. „The Status of Woman in the plays of Vijay Tendulkar’s Ghashiram Kotwal and Kamala“. International Journal of English Literature and Social Sciences 4, Nr. 2 (2019): 531–34. http://dx.doi.org/10.22161/ijels.4.2.51.

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Devi, T. Sri. „Portrayal of Gender Egalitarianism as an Elusive Dream for Women: A Study of Vijay Tendulkar’s Silence! The Court is in Session“. Bioscience Biotechnology Research Communications 14, Nr. 8 (25.06.2021): 184–87. http://dx.doi.org/10.21786/bbrc/14.8.42.

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Gupta, Anamika. „“Gender and Violence in Vijay Tendulkar’s Sakharam Binder (1972)”“. SMART MOVES JOURNAL IJELLH, 28.05.2019, 8. http://dx.doi.org/10.24113/ijellh.v7i5.8489.

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In the developmental procedure of culture and civilization, human beings are divided into men and women. Both of them suppress their impulsiveness and spontaneity and lose the real delight of life by adopting the ways of culture and social norms. Man becomes the head of the family. He controls and presides over all its affairs. He becomes the master that in due course leads to the formation of male biased society that oppresses womankind all over the globe.Vijay Tendulkar in most of his foremost plays presents women as victim. Women’s place is of greatest concern to Vijay Tendulkar because of the abysmal difference that women experience in relation to men. Vijay Tendulkar depicts the diurnal humiliations and abasements that women undergo in this male chauvinist society. This paper is an attempt to expose the tyranny or oppressive nature of Gender in the play Sakharam Binder (1972) by Vijay Tendulkar that leads to violence (Physical, Sexual and Psychological) due to social and gender inequality. Tendulkar reveals the dramatic tension among Sakharam and Laxmi and Champa. This play depicts the life in all its nefariousness, ugliness, primitiveness and crudity. It explores the complexities of human nature. This play is a study in human violence, antagonism and terror, in how people try to keep down and oppress one another at the first opportunity. Moreover, Tendulkar reaches into the depth of physical lust and violence in human beings. Tendulkar depicts violence not only in form of physical cruelty and sexual violence but also tries to explore the real causes and deep-rooted sources, which are responsible for such kind of violence.

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Anuragi, Laxmi Prasad, und Prof Sanjoy Saksena. „Gender and Power Politics in Vijay Tendulkar’s Sakharam Binder“. SMART MOVES JOURNAL IJELLH, 28.06.2022, 18–31. http://dx.doi.org/10.24113/ijellh.v10i6.11319.

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The play, Sakharam Binder, written by Vijay Dhondopant Tendulkar, the most prolific but controversial Marathi dramatist, reflects a unique amalgamation of topicality and timelessness. It dramatizes Indian middle class society’s deep – seated, unchecked, and malignant depravity and perversity. Tendulakr brilliantly depicted human intrapersonal connections in the distant past as well as in today’s socio – political environment by diving deeply into their complexities. Sakharam Binder, the protagonist of the play, refuses the conventional but artificial orthodox and polished value system and attempts to develop his own life philosophy. Sakharam’s battle against socio – psychological elements reveals the bare exhibition of inflexible conventions, ugliness and the dissolution of human self. Vijay Tendulkar succeeds in exposing the societal turpitude and holocaust in which the caste gender heritage has its own province to worsen the situation. Because of the importance of this heritage, it leaves its impression on the inner landscape of the human mind and causes chaos in their lives. Personal and societal spheres in reality, Manusmriti’s laws on the one hand, distinguish between the twine – born caste and woman and shudras. On the other hand as a result, women and shudras have equal status. They are both regarded as second class citizen. This caste gender heritage is linked to a group of bifurcates traits.

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Milind Patil und Vinod Waghmare. „Male Dominance in Vijay Tendulkar’s Plays“. International Journal of Advanced Research in Science, Communication and Technology, 27.05.2022, 378–81. http://dx.doi.org/10.48175/ijarsct-4261.

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Vijay Tendulkar (1928-2008) is India’s most famous Marathi play writer. Through his writing he focuses on the contemporary issues of society. The Vultures, Sakharam Binder and Ghashiram Kotwalin these plays he focuses on the male dominance, women Discrimination, Gender Inequality, Violence, man woman relationships. The Vultures which were published in 1961 and Sakharam Binder in 1972 Ghashiram Kotwal in 1972 shows the male dominance in the society and how men overpower woman as well as conflict between human relationship and the actual picture of the patriarchal society. His prolific writing over a period of five decades includes thirty full-length plays, twenty-three one-act plays, eleven children’s dramas, four collections of short stories, two novels and five volumes of literary essays and social criticism. His female characters are mainly from the lower- and middle-class families such as housewives, teachers, mistresses, daughters, slaves and servants. The issues of male dominance, gender discrimination, greed for money, sexual norms, violence, manwoman relationship, social issues, power and morality have been featured prominently in his plays. He deals with all the problems and conspiracies, of the contemporary society. The conspiracies are discussed in this paper under the heading – Male Dominance.

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Surete, Dr. „Harsh Reality of Chauvinistic Patriarchial World : Ambivalence of Objectified Second Sex After Rebellious Self-Assertion“. SMART MOVES JOURNAL IJELLH, 05.10.2021, 84–95. http://dx.doi.org/10.24113/ijellh.v9i9.11171.

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In this paper efforts have been made to show the mixed feeling that comes in the mind of an Indian woman when she realises her worth. The chauvinistic world is using woman as an object to fulfil the desires since ages. Indian women are brought up in such atmosphere that they find it difficult to face men and like a dumb cattle obey all the orders of man, be it their father in childhood, their husband after marriage or their son in old age. She is never asked or allowed to express her own will and when she tries to take the decisions in her own hands she is tortured and insulted with taunts. This paper highlights the feelings of women when she faces such situation. In this paper a deep study of three plays of Vijay Tendulkar has been done which are Kamala, Silence! The Court Is In Session and Kanyadaan .

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Surete, Dr. „Harsh Reality of Chauvinistic Patriarchial World : Ambivalence of Objectified Second Sex After Rebellious Self-Assertion“. SMART MOVES JOURNAL IJELLH, 05.10.2021, 84–95. http://dx.doi.org/10.24113/ijellh.v9i9.11171.

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In this paper efforts have been made to show the mixed feeling that comes in the mind of an Indian woman when she realises her worth. The chauvinistic world is using woman as an object to fulfil the desires since ages. Indian women are brought up in such atmosphere that they find it difficult to face men and like a dumb cattle obey all the orders of man, be it their father in childhood, their husband after marriage or their son in old age. She is never asked or allowed to express her own will and when she tries to take the decisions in her own hands she is tortured and insulted with taunts. This paper highlights the feelings of women when she faces such situation. In this paper a deep study of three plays of Vijay Tendulkar has been done which are Kamala, Silence! The Court Is In Session and Kanyadaan .

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Thusoo, Umang. „Violence in Vijay Tendulkar’s The Vulture: An Existential Phenomenon“. MINDSHARE: International Journal of Research and Development, 25.12.2021, 126–41. http://dx.doi.org/10.55031/mshare.2019.33.li.7.

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In this paper a focus would be made to track the details of Contemporary World Literature in English as a whole with an inclination towards the theme of violence in Vijay Tendulkar’s The Vulture in particular. The Contemporary World Literature provides an insight into social, moral and political aspects of human culture which is why one can identify oneself with the rest of the human populace. In a way, the theme of violence acts as a stimulus in this direction. The world literature has contained ‘violence’ in terms of conflicts in all social levels, whether it is with oneself, between family members, between communities or between nations, since ages. Any such kind of conflict arises from negative emotions in an individual such as fear, distress and sorrow. As a result, the individual is likely to feel forsaken and helpless and may turn to the literature world in order to understand his/her own experiences and the similar experiences of others. This paper offers examples from the past, running through the Middle Ages and extending to the present time. Moreover, there is an explanation of how violence in the antiquity is different from the violence in the existing period. An existential approach is made while defining the same: which is a 20th century philosophical movement emphasizing the uniqueness of human existence struggling through making choices between destiny and free will. Beside this, a segment has been included that deals with the prevalence and type of violence found in Indian Writings in English highlighting patriarchal and communal issues.

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Chatterjee, Shukla. „The ‘Safar’ of a common man: Vijay Tendulkar’s travel play The Cyclist“. Rupkatha Journal on Interdisciplinary Studies in Humanities 12, Nr. 3 (05.06.2020). http://dx.doi.org/10.21659/rupkatha.v12n3.28.

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Bhattacharyya, Joydeep. „Datta Bhagat’s Routes and Escape Routes and Vijay Tendulkar’s Kanyadaan: Critiquing the Dalit“. Contemporary Voice of Dalit, 19.04.2021, 2455328X2199573. http://dx.doi.org/10.1177/2455328x21995737.

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This article seeks to understand Indian theatre’s take on Dalit politics of our time through a critical reading of two post-independence plays—Datta Bhagat’s Routes and Escape Routes and Vijay Tendulkar’s Kanyadaan. Politically, ‘Dalit’ becomes important only after 1947 in post-independence and post-colonial India or more specifically from the 1970s. In the post-Ambedkar phase of Dalit re/configuration, they begin to self-assert through politics, art, and literature, most effectively and convincingly, only with the rise of Dalit Panthers and in the aftermath of the implementation of Mandal Commission’s recommendation for Other Backward Classes (OBC) reservation. The article tries to examine the fresh critique of the Dalit vis-à-vis the upper caste-centric society, undertaken in this crucial context of reconfiguration and from beyond any traditional parameter of understanding, and map, through the plays, the plurality hidden within the perceived monolith of Dalit consciousness. Consequently, Dalit experiences against the backdrop of their struggle are laid bare, and unfamiliar realities come out to upset our comfortable knowledge about this large segment of Indian society.

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Tiwari, Sandhya. „SOCIO-CULTURAL COMPLEXITIES AND LESBIAN LOVE AND ATTRACTION IN VIJAY TENDULKAR’S A FRIEND’S STORY“. SSRN Electronic Journal, 2023. http://dx.doi.org/10.2139/ssrn.4637148.

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45

Vijayarani, A., und Catherine Edward. „FAMILY PATHOLOGY IN VIJAY TENDULKAR’S SILENCE! THE COURT IS IN SESSION AND MAHESH DATTANI’S THIRTY DAYS IN SEPTEMBER“. GEDRAG & ORGANISATIE REVIEW 33, Nr. 02 (12.05.2020). http://dx.doi.org/10.37896/gor33.02/125.

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