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|Directed by||Jabbar Patel|
|Written by||Vijay Tendulkar|
|Music by||Bhaskar Chandavarkar|
Ghashiram Kotwal is a Marathi play written by playwright Vijay Tendulkar in 1972 as a response to the rise of a local political party, Shiv Sena, in Maharashta. The play is a political satire, written as historical drama. Based on the life of Nana Phadnavis (1741–1800), one of the prominent ministers in the court of the Peshwa of Pune. Its theme is how men in power give rise to ideologies to serve their purposes, and later destroy them when they become useless. It was first performed on 16 December 1972, by the Progressive Drama Association in Pune. Jabbar Patel's production of the play in 1973 is considered a classic in Modern Indian Theatre.
The first show of this play was done on 16 December 1972 at Bharat Natya Mandir in Pune. The play saw a huge controversy and success in the following years. It made the trip to Europe in the year 1980. Later in the year 1986, the group also done plays in US and Canada. They also travelled to Russia, East Germany, Hungary etc.
The play begins with an invocation to lord Ganesha. Then the Brahmins of Pune introduce themselves and we can see the morally corrupt state of affairs in Pune. Nana Phadnavis who is the Diwan (Chief Secretary) of Pune is also corrupt and visits the lavani dancer. Ghashiram is working with the lavani dancer. Ghashiram being a Brahmin goes to collect alms at the Peshwa's festival the next day. However he is ill-treated there and is charged with pick-pocketing and imprisoned for the offence. He then decides to take revenge.
Ghashiram barters his own daughter to get the post of Kotwal (police chief) of Pune from Nana. Having got the post he begins to enforce strict rules in the city. He starts asking for permits for everything and starts throwing people in jail for the smallest offences. In the mean time, Ghashiram's daughter is impregnated by Nana, and dies during childbirth. The situation goes out of hand when a few people in the jail die out of suffocation. The Brahmins then complain to the Peshwa. The Peshwa summons Nana who orders Ghashiram to be killed in the most derogatory way possible.
The play is notable for the use of the "Tamasha" form in Marathi folk theatre. Singing and dancing are used here to good effect. "Abhangas" (devotional songs) are mixed with "Lavnis" (love songs).
Original cast and crew
- Ghashiram Savaldas: Ramesh Tilekar
- Nana Phadnavis: Mohan Agashe
- Sutradhar (Narrator): Shreeram Ranade
- Singers: Anand Modak, Ravindra Sathe, Chandrakanr Kale
- Music: Bhaskar Chandavarkar
- Dance: Krishndev Mulgund
- Director: Jabbar Patel
- Music: Bhaskar Chandavarkar
- Ravindra Sathe - manjiri/tal
- Chandrakant Kale - Chipali
- Ashok Gaikwad - Dholaki/Tabla
- Prabhashankar Gaikwad - sundri
- Shrikant Rajpathak - Mrudung
- Shyam Bhende - Harmonium
This play caused a lot of controversy because some people believed that it hurt the feelings of the chitpavan Brahmin community and that it showed the statesman Nana Phadnavis in a bad light. Hence it was temporarily banned in the state.
The play was adapted into a Marathi film, 'Ghashiram Kotwal' (1976), which was the debut film of actor Om Puri. Main characters were played by Prakash Belawadi and Mohan Agashe. Film's screenplay was written by Vijay Tendulkar, himself. This film was directed by K. Hariharan and Mani Kaul in cooperation with 16 graduates of the FTII.
- Ghashiram Kotwal, Vijay Tendulkar, Sangam Books, 1984. ISBN 81-7046-210-X.
- Collected Plays in Translation: Kamala, Silence! the Court Is in Session, Sakharam Binder, the Vultures, Encounter in Umbugland, Ghashiram Kotwal, a Friend's Story, Kanyadaan. New Delhi, 2003, Oxford University Press. ISBN 0-19-566209-1.
- Vijay Tendulkar's Ghashiram Kotwal: a Reader's Companion. M. Sarat Babu, Asia Book Club, 2003. ISBN 81-7851-008-1.
- Vijay Tendulkar's Ghashiram Kotwal: Critical Perspectives. Vinod Bala Sharma and M. Sarat Babu. 2005, Prestige Books, New Delhi. ISBN 81-7851-002-2.
- P.Dhanavel, "Subversion of Values in Tendulkar's Ghashiram Kotwal," Voice, Vol.3, No.3, (June 2005),pp.84-92.