Bai Naam Drama School!

There are some turning points in the life of a painter. This time everything will be awesome. More dramatic than cinema. That period is 1956. Durgabai Khote confidently asked a twenty-one year old girl wearing two wigs, ‘You have to take the responsibility of directing from now on. Assure your family about this. Because directing […]

Bai Naam Drama School!

There are some turning points in the life of a painter. This time everything will be awesome. More dramatic than cinema. That period is 1956. Durgabai Khote confidently asked a twenty-one year old girl wearing two wigs, ‘You have to take the responsibility of directing from now on. Assure your family about this. Because directing takes more time than acting. Take their permission and then start this new job. And yes, your marriage talks haven’t even started yet, have you? Otherwise you get married and pass away.

Vijay Tendulkar’s play ‘Shrimant’. All senior actors by age and experience, but the overall understanding of the play is full of that young woman. And as Tendulkar said in the training session, the ‘twenty-two’ bell kept ringing… and the twenty-one year old girl was stunned. Go round and round. She was given the title of ‘Bai’. The twenty one year old ‘Bai’ has made the golden drama journey of the accomplished actress and director so far.

There is drama in Toofan Vijaya Mehta!

Acharya Atre, v. ya. Shirwadkar, William Shakespeare, Bernard Shaw, Vijay Tendulkar. This theatrical journey from 1951 to 1993, which was witnessed over a long period of time, began with occasional playwriting, leading up to the completion of the play Jhimmach Wada Chirebandi. In ‘Wada Cheerbandi’ she played the role of a mother to a new generation of young painters and also directed. ‘Kalavaibhav’ was composed. As the originator of modern Marathi theatre, he shaped hundreds of painters like a lamp. supported.

‘Indirabai in politics and Vijayabai in theatre!’ it’s a fact. Because both of them were drama teachers who created history on their own. He was a sensitive painter. She was also an accomplished director. As the Executive Director of NCPA for 17 years, he also proved his administrative skills and preferred Marathi and other language plays. He was awarded the Padma Shri by the Central Government.

Universities awarded him doctorate degrees. He also witnessed the golden age of the drama movement ‘Rangayan’. So the play got a direction. He has also written an autobiographical book, Jhimma, which tells about his career. Senior journalist and critic Ambareesh Mishra assisted Yakami Baina in writing. This book was produced by Rajhans Prakashan in 2012.

Nana Patekar, Reema Lagoo, Vikram Gokhale, Dilip Kolhatkar, Mangesh Kulkarni, Neena Kulkarni Vij were created by Vijayabai. Acting rituals were done on him. He emerged as a link between commercial and experimental theatre. He used it to complete plays ranging from one-act plays, which is fantastic.

He played with Tendulkar in at least a dozen plays such as Vijay Tendulkar’s Keshav Pradhan, Chor Police, Char Din, Boring Days in the Dark City, Indigestion of Voice, Char Din, Vitthal To Aala (These three in Hindi), Chitragupta Aho worked with. Chitragupta, Bali. As an ‘experiment’ it was like a golden age in the world of karma. He also did several one-act plays for Bridges, mainly directing. All shanties, sadhus and dadu, big fish, small fish, the name of the new gokul have to be mentioned. The Mumbai Marathi Sahitya Sangh at Girgaum was the only drama workshop for women at that time.

That period is from 1957 to 1960. Through this ‘Vijay Jaywant’ was happening. In Gangadhar Gadgil’s one-act play Crazy Square, Two Zero and One, he directed the competition for Jaihind and Wilson College. Around 1958, in 1959 he directed Best’s entire play ‘Uddhav’. At the time, those victories were false rather than victory. As a strong, mature and simple director with a strong sense of theatre, she stood on a strong footing.

He also worked under the direction of Pul. Didi Raje and Maneka played their roles in ‘Sundar Mein Honar’. Ch. Trin. Khanolkar’s play ‘Ek Shoonya Bajirao’ was presented by ‘Rangayan’. He also directed and played the lead role of Gauri. Mahesh Elkunchwar, Vrindavan bowed at the ‘Rangayana’ workshop, Mr. Sarkar Sathe’s code was also shaped by the new spectacles of ‘that’ Vijaya Mehta. Ivana Bai’s one school was in good condition. He has given the skill of giving drama awareness to the audience through his direction and acting.

Vijayabai played the lead role of ‘Meena’ in ‘Mala Uttar Havanya’ while Nandkumar Rawate was the director. In the same year ‘Ek Ghar Hota’ came on stage. It was directed by Bai. Mohansheth Tondwalkar did not make any mistake in the production value. Both the plays came on stage under the banner of their artistry. I Want Answer is Vijaybai’s first commercial drama after Rangayana. Srikant Moghe was with Vijayabai. He was in a wheelchair during the entire play. Although the fans liked ‘I want an answer’. The use of tours increased. Mohansheth was happy as a producer. After the introduction of ‘Rangayan’, the doors of advertisement opened wide. Colored kids! So this ‘team’ got a new identity. Mangesh Kulkarni of Rangayan told Pandit Satyadev Dubey, ‘Futanam’ has different meanings in Marathi language. Why a mirror does not break once a mirror is broken; But the tree sprouts and branches come out. The branches of Rangayana are one of many inventions. Coloring is flourishing, it is not over yet!’ Around 1970, ‘Rangayana’ started and new festivals started.

Three plays ‘Sandhya Chhaya’, ‘Jaswandi’ and ‘Akhercha Saval’ visited housefull crowds across Maharashtra. He also set a record of 25 experiments in 30 days. repeat show. Benny had also decided not to experiment with drama at that time. In this way he took his breath away. He waited differently after 1974. She was exploring herself in various mediums as a world artist in world cinema, cinema, television, drama teacher, government responsibilities etc. It is necessary to mention ‘Ajab Nyay Vartulacha’ among the quality works of art produced by Mumbai Marathi Sahitya Sangh in 1973. Symbol of Bertolt Brecht’s Code. Trin. It was translated by Khanolkar and directed by Vijayabai. He took up the challenge of directing.

The Goa Hindu Association brought Jaywant Dalvi’s play ‘Sandhyachaya’ to the commercial stage around 1973. He was directed by Madhav Vatve. The role of ‘Nani’ became history. Later, Sonia from Sai Paranjpe’s ‘Jaswandi’, Dr. Vasant Kanetkar’s ‘last question’. Mukta, Anil Barve’s ‘Hamidabai Ki Kothi’, Hamidabai, Jaywant Dalvi’s ‘Barrister’ screenplay by Mausi Mahesh Elkunchwar directed by Benny and the role of mother is her final appearance on stage! He not only traveled a long way as a silent witness, but also brought consciousness to the vertical drama. Rooted out new color concepts.

He also took a closer look at foreign theaters. He read thousands of codes. they did. He enriched commercial and experimental theatre. Reached as the President of the Natya Sammelan. This is an uplifting play graph. The coincidences are wonderful.

After Durgabai Khote and President of Mahila Natak Sammelan Jyotsna Bhole. He accepted the responsibility of presiding over the 67th Natya Sammelan held at Ichalkaranji in 1986. Durgabai is a liar and Vijayabai’s mother-in-law! They both deal with their confidence as they choose to begin their sporting activities. Durgabai was the president of the 43rd Natya Sammelan held in Delhi in 1961 and Vijayabai in 1986. She considers Durgabai as her role model. Sasubai and the lady of Gurusthan paid tribute to him. kill till the end. When Durgabai was in her late nineties, she wrote an autobiographical book ‘Mee Durga Khote’. At that time Durgabai was living in Alibaug. Durgabai’s health was deteriorating. Finally Vijaybai brought him to Mumbai. Till the end, there was a mother-in-law relationship between the two instead of mother-in-law.

It was decided to meet Vijayabai on the sidelines of the press conference and in some programs. She had the same body language as the strict headmistress of a school, but still had a bit of mischief. The style of answering questions directly and clearly, the thoughtful thinking, the habit of talking face to face: the whole thing is awesome. Although he has given up acting and directing in theatre, the magic around him has not diminished. That’s what I felt every time. He directed Girish Karnad’s ‘Nagmandal’ in Hindi and German around 1993. Met during this time. It was a production of Goa Hindu Association, Leaping Theater and NCCA. It was his last directorial venture.

Vijayabai acted in the play. He also held the highest position in the field of drama, that is, the standard of convention president. played in the play. He went crazy. At one point the woman says, ‘I found the answer in Picasso’s words why I was addicted to drama! ‘I would have liked Journey from untruth to truth. The reality that has to be recreated for him and the mess it creates must be felt again and again. Why is it so hard to survive once you hit it!’

Why did you play in the theatre? To this question Vijaybai says, ‘Play for happiness!’ The play is called ‘Khel’ in Marathi, ‘Khel’ in Hindi, ‘Play’ in English and ‘Epil’ in German. It also means ‘game’. This game sounds like ‘Jimmya’ to me. Because in our traditional ‘jimmya’, the participation of many people is important. All the actors, writers, directors, backstage troupe, technical support and spectators. There is a rhythm in this game. This game is full of emotions, tangible and intangible, true and false! I played Jimma a lot. If this continues to resonate in the minds of the fans, then it will come true like a colorful experiment. Salute to Vijayabai’s colorful ‘Natya Jhimma’!