SCIM: Vasanta kAneTakara
imppio
I got some information about Pro. Vasant Kanetkar, in the editorial written
by Sakal on 1st February issue. This will be available on site esakal.com
and then you can search for back issues.
This editorial does not list ALL the plays written by him, nor does it write
much about his other literary works. I am sure there must be a biographical
information published by Sakal and/or other Marathi newspapers. Please
publish the links if anybody can find the same.
Thanks,
imppio
Sachin Sunil Tatake
here is a weak attempt.
-----------------------------------------------------------------
Vasant Shankar Kanetkar
Shri. Kanetkar was born in Rahimatpur, Satara in 1922 (20 March). His
father was kavi 'Girish' (Shankar Keshav Kanetkar). In his autobiography
"mi majhyashi", the childhood Vasant Kanetkar starts describing is set in
Shaniwar Peth, Pune. His father was among the circle of poets called
"ravikiran". This included kavi yashvant, madhav julian among others. His
school: 'navin marathi shala'.
Later, when he reached college, he moved out of Pune. To entertain himself
outside college hours, he started writing stories, plays. These, were sent
to magazines like 'kirloskar', 'satyagatha' for publication; also to the
radio. It came as a realisation to Kanetkar that all his submissions were
being published. His affinity for drama took him to acting in plays during
this time. Here he met Bhalba Kelkar, the future founder of "Progressive
Dramatic Association".
After his MA, in 1946 he took up a job as lecturer of Marathi and English
at H. P. T. Mahavidyalay, Nashik. Originally, Kanetkar's foray into
literature was with the 'katha' form of writing. After 2-3 works behind
him, "vedyacha ghar unhat" began. It seemed to fit better in the 'drama
form' but the author was trying to write it as a 'katha', without
satisfation. At this stage, he accidently met Bhalba Kelkar. By then PDA
had been formed. Bhalba asked Kanetkar what he was working on. Kanetkar
told him briefly about 'vedyacha ghar unhat'. The next day Bhalba came to
Kanetkar's house and this time Kanetkar had to give all the details.
Bhalba was enthusiastic about the project, and Kanetkar now started
preparing to write 'vedyacha ghar unhat' as a play, which he had
always felt was how it should have been. In 1957 the PDA took this to the
'rajya natya spardha', where it won all awards!
The next 3 plays Kanetkar wrote all won awards at the 'rajya natya
spardha'! Kanetkar did not like to be satisfied with his works. During
rehearsals if he did not like the way it was communicating with the
audience, he would change it. Kanetkar did extensive research before his
'rayagadala jevha jag yete'. It was brought on stage by 'The Goa Hindu
Association' in 1962, with Ma. Datto as Shivaji, Dr. Ghanekar as Sambhaji.
When Kanetkar saw it, act III scene I is when Sambhaji (who has gone into
Shahajada-Diler Khan's camp), discontented with the treatment being given
to him is taken aside by a Moghul sardar who is Hambirrao Mohite in
disguise. He then returns to Shivaji, Swaraj. Kanetkar felt something was
wrong here. He watched the play again, and knew he had to change it. The
scene was changed to show Sambhaji coming away from the Moghul camp with
Hambirrao who has contacted him by 'khalita'. In their encampment, Shivaji
himself comes to greet Shambhaji and tells him that he is being accepted
back. Kanetkar requested that this change be made in the play. However, it
was not - "probably because shows had begun, it was not possible to
incorporate this change". Later, when the play came with Avinash Deshmukh
and Mohan Joshi, the old scene was still followed. The newer editions of
the book however had the new scene.
Kanetkar knew that the audience has the final word. However, he was
strongly against writing 'because the audience will like it'. For the
audience, he made sure that the story is conveyed such that the audience
can understand it, yet the idea behind his plays was always experimental,
always varied. Matsyagandha is a tale out of the Mahabharat. It is the
name of Satyavati, whom King Shantanu marries and for which Devvrat takes
his oath of celibacy - becoming Bhiishhma. Matsyagandha had come on
marathi theatre earlier in the 1920s. However, it dealt more with King
Shantanu and Bhiishhma than Matsyagandha. In Kanetkar's play, she is the
focus. She is shown in different phases as vain of herself, enamoured with
sage parashar, dejected after he leaves her, heartless when King Shantanu
approaches her, distraught when her sons die, and humbled by Bhiishma's
adherence to his words ("ya jagat bhiishmachi maan model tar konachi maan
tath rahil?"). matsyagandha was a step beyond Kirloskar era's sangit-natak
which always had a happy end. Kanetkar's literature shows a great variety
in pauranik, aitihasik, samajik plays, with tragic, comic or a happy end
as he thought fit.
Kanetkar's approach to writing is to capture the character of an able
(samarath) or good (sajjan) man when he is faced with unsurmountable
circumstances. Can a man be so great that the people close to him cannot
understand him? 'himalayachi savali' and 'vishavrikshachi chhaya' study
such character. "shalya" - which means thorn - is a collection of 'tujha
tu vadhavi raja', 'rayagadala jevha jag yete' and 'ithe oshalala mrityu'.
In these he says he has tried to show the pains caused by the thorns in
the father-son relations of Shahaji-Shivaji and Shivaji-Sambhaji. Though
they were not written in that order, he requests the reader to now follow
this historic sequence.
Kanetkar says he does not like to work under pressure. Even when he chose
his publisher, he did not go to 'satyagatha' or 'mauj' where everyone
flocked. He found his own. From 1957 to 1997 to his credit there are 41
plays, 8 one-acts, 4 novels and 3 story collections.
Following are a few of his awards and a list of works. With great respect,
Sachin.
-----------------------------------------------------------------
Biography from his home town:
http://www.nashik.com/halloffame/whoswho/kanetkar.html
-----------------------------------------------------------------
1964: 'rayagadala jevha jag yete' received "sarvotkrishta bharatiya natak"
from sangit-natak academy. This drama was translated into 14 languages and
broadcast on the radio.
1971: 'ansu ban gaye phuul' a Satyen Bose movie based on 'ashrunchi jhali
phule' received 1971 Filmfare "Best Story".
1984: "sarvotkrishht natak-kar" among all Indian languages by sangit-natak
academy.
1990: "maharashtra gaurav" puraskar.
1992: "padmashrii"
-----------------------------------------------------------------
kadambari
---------
Ghara
Pankha 1953
Poraka
pauranik natake
----------------
Matsyagandha 1964
Mira-madhura 1971
Nala-Damayanti 1975
aitihasik natake
----------------
Rayagadala jevha jaga yete 1962
Ithe oshalala mrityu 1968
Tujha tu vadhavi raja 1969
Garudajhepa 1974 (Ranjit Desai saha)
Jithe gavatasa bhale phutatata! 1987
natake
------
Vedyacha ghar unhat 1957
Prema tujha ranga kasa? 1961
Dona dhruvavara doghe apana 1963
Mohini 1965
Lekure udanda jhali 1966
Ashrunchi jhali phule 1967
Gharata phulala parijata 1969
Himalayachi savali 1972
Suryachi pille
Akheracha savala 1974
Beimana 1974
Kasturimriga 1976
Vishavrkshachi chaya 1976
Manasala dankha maticha 1977
Goshta janmantarichi 1978
Eka rupa, aneka ranga 1978
Gath ahe majhyashi 1980
Pankhanna odha pavalanci 1981
Kadhitari-kothetari 1981
Gaganabhedi 1982
Premachya gava jave 1983
Vadala manasalataya 1984
Mala kahi sangayachaya 1986
Sukha pahata 1989
Akashamithi 1989
Priya aisa 1992
Phakta ekacha karana 1993
Tu tar chaphekali 1995
lekh/bhashane
--------------
Nataka: eka cintana 1974
ekankika
---------
Vyasanca kayakalpa 1967
Madrashine kela Marathi bhratar 1969
Smagalara samratancnya nyayalayat Ramashastri 1975
Gada gela pana sinvha jaga jhala 1975
Jhende-Patila Mahavidyalayata Gangu, Ambu, Vitha 1977
Chumantara 1982
Divyasamora andher 1986
Ja mula, dilya ghari tu sukhi raha
Andhera nagarita caukashi : phasici
Asahi eka saubhadra.
Autobiography
-------------
Mi-- majhyasi 1986
Phule ani phale chintanachi 2000
Articles
--------
Kanetkaranchi natyasrishti 1987
Pra. Vasant Kanetakar
sahitya-vedh: Amrtamahotsavanimitta 1999
Movies
-------
-'iye marathichiye nagari' 1965
(Director: V. Shantaram, Music: Vasant Desai)
later in hindi as 'ladaki sahyadriki'.
-'ansu ban gaye phul' 1969
(Director: Satyen Bose, Music: lakshmikant Pyarelal)
-'jal bin machhali, nritya bin bijali' 1971
(Director: V. Shantaram, Music: Lakshmikant Pyarelal
based on 'jal vina masoli')
Sachin Sunil Tatake
---------------------------------------------------------------
Vasant Shankar Kanetkar
Shri. Kanetkar was born in Rahimatpur, Satara in 1922 (20 March). His
father was kavi 'Girish' (Shri. Shankar Keshav Kanetkar). In his
autobiography "mi majhyashi", the childhood Vasant Kanetkar starts
describing is set in Shaniwar Peth, Pune. His father was among the circle
of poets called "ravikiran". This included kavi yashvant, madhav julian
among others. His school: 'navin marathi shala'. [1, 2]
Later, when he reached college, he moved out of Pune. To entertain himself
outside college hours, he started writing stories, plays. These, were sent
to magazines like 'kirloskar', 'satyagatha' for publication; also to the
radio. It came as a realisation to Kanetkar that all his submissions were
being published. His affinity for drama took him to acting in plays during
this time. Here he met Bhalba Kelkar, the future founder of "Progressive
Dramatic Association". [2, 3]
After his MA, in 1946 he took up a job as lecturer of Marathi and English
at H. P. T. Mahavidyalay, Nashik. Originally, Kanetkar's foray into
literature was with the 'katha' form of writing. After 2-3 works behind
him, "vedyacha ghar unhat" began. It seemed to fit better in the 'drama
form' but the author was trying to write it as a 'katha', without
satisfation. At this stage, he accidently met Bhalba Kelkar. By then PDA
had been formed. Bhalba asked Kanetkar what he was working on. Kanetkar
told him briefly about 'vedyacha ghar unhat'. The next day Bhalba came to
Kanetkar's house and this time Kanetkar had to give all the details.
Bhalba was enthusiastic about the project, and Kanetkar now started
preparing to write 'vedyacha ghar unhat' as a play, which he had always
felt was how it should have been. In 1957 the PDA took this to the 'rajya
natya spardha', where it won all awards! [2, 3]
The next 3 plays Kanetkar wrote all won awards at the 'rajya natya
spardha'! Kanetkar did not like to be satisfied with his works. During
rehearsals if he did not like the way it was communicating with the
audience, he would change it. Kanetkar did extensive research before his
'rayagadala jevha jag yete'. It was brought on stage by 'The Goa Hindu
Association' in 1962, with Ma. Datto as Shivaji, Dr. Ghanekar as Sambhaji.
When Kanetkar saw it, act III scene I is when Sambhaji (who has gone into
Shahajada-Diler Khan's camp), discontented with the treatment being given
to him is taken aside by a Moghul sardar who is Hambirrao Mohite in
disguise. He then returns to Shivaji, Swaraj. Kanetkar felt something was
wrong here. He watched the play again, and knew he had to change it. The
scene was changed to show Sambhaji coming away from the Moghul camp with
Hambirrao who has contacted him by 'khalita'. In their encampment, Shivaji
himself comes to greet Shambhaji and tells him that he is being accepted
back. Kanetkar requested that this change be made in the play. However, it
was not - "probably because shows had begun, it was not possible to
incorporate this change". Later, when the play came with Avinash Deshmukh
and Mohan Joshi, the old scene was still followed. The newer editions of
the book however had the new scene. [2, shalya]
Kanetkar knew that the audience has the final word. However, he was
strongly against writing 'because the audience will like it'. For the
audience, he made sure that the story is conveyed such that the audience
can understand it, yet the idea behind his plays was always experimental,
always varied. Matsyagandha is a tale out of the Mahabharat. It is the
name of Satyavati, whom King Shantanu marries and for which Devvrat takes
his oath of celibacy - becoming Bhiishhma. Matsyagandha had come on
marathi theatre earlier in the 1920s. However, it dealt more with King
Shantanu and Bhiishhma than Matsyagandha. In Kanetkar's play, she is the
focus. She is shown in different phases as vain of herself, enamoured with
sage parashar, dejected after he leaves her, heartless when King Shantanu
approaches her, distraught when her sons die, and humbled by Bhiishma's
adherence to his words ("ya jagat bhiishmachi maan model tar konachi maan
tath rahil?"). matsyagandha was a step beyond Kirloskar era's sangit-natak
which always had a happy end. Kanetkar's literature shows a great variety
in pauranik, aitihasik, samajik plays, with tragic, comic or a happy end
as he thought fit. [2]
Kanetkar's approach to writing is to capture the character of an able
(samarath) or good (sajjan) man when he is faced with unsurmountable
circumstances. Can a man be so great that the people close to him cannot
understand him? 'himalayachi savali' and 'vishavrikshachi chhaya' study
such character. "shalya" - which means thorn - is a collection of 'tujha
tu vadhavi raja', 'rayagadala jevha jag yete' and 'ithe oshalala mrityu'.
In these he says he has tried to show the pains caused by the thorns in
the father-son relations of Shahaji-Shivaji and Shivaji-Sambhaji. Though
they were not written in that order, he requests the reader to now follow
this historic sequence. [2, shalya]
Kanetkar says he does not like to work under pressure. Even when he chose
his publisher, he did not go to 'satyagatha' or 'mauj' where everyone
flocked. He found his own. From 1957 to 1997 to his credit there are 41
plays, 8 one-acts, 4 novels and 3 story collections. [2]
Sachin.
1990: "maharashtra gaurav" puraskar.
1992: "padmashrii"
-----------------------------------------------------------------
natake
------
[3] Vedyacha ghar unhat 1957
Autobiography
-------------
[1] Mi-- majhyashi 1986
Phule ani phale chintanachi 2000
Articles
--------
Kanetkaranchi natyasrishti 1987
[2] Pra. Vasant Kanetakar
sahitya-vedh: Amrtamahotsavanimitta 1999
(For the above articles, an interview of Shri. Kanetkar from above
'sahitya-vedh' was mostly used. Paragraph on 'matsyagandha' comes almost
completely from an article by Shri. Ulhas Ratnaparkhi who has written his
PhD thesis on works by Kanetkar)
Sachin Sunil Tatake
I wish I could do it. However, it did take a lot of time for the post on
Shri. Kanetkar. If I do it, it will have to be later.
Maybe if you/someone can post some of her works as motivation, a reader
more knowledgeable may follow it up. What do you think?
Sorry,
Sachin.
> How about some information about Late Indirabai Sa.nt?