Changes between Initial Version and Version 1 of Aga Hashr Kashmiri

Timestamp:

Jun 23, 2012, 2:02:31 PM (12 years ago)

Author:

Trupti

Comment:

--

Aga Hashr Kashmiri

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+'''Aga Hashr Kashmiri (1879-1935)'''
+
+
+Scenarist and best-known early 20th C. Urdu-
+Hindi playwright of enormously influential
+Parsee theatre plays. On contract to the Alfred
+Theatre in Bombay (1901-5) and then (after
+1916) to the Madan Theatres’ Elphinstone and
+Corinthian companies in Calcutta, providing
+adaptations of Shakespeare (A Winter’s Tale
+became Mureed-e-Kash, 1899; Measure for
+Measure became Shaheed-e-Naaz aka Achhuta
+Daman in Hindi, 1902; King John became
+Saeed-e-Havas, 1907; Macbeth was Khwab-e-
+Hasti). Made a big impact with his linguistic
+transpositions of Shakespearean tragedy’s
+feudal elements of blood ties and blood feuds,
+honour, sacrifice and destiny into Farsi, Arabic
+(he knew both languages) and Moorish
+legends, simultaneously taking on board the
+European baroque’s Orientalist treatment of
+such sources. He extended his Shakespearean
+matrix to several partially original plays like
+Meethi Churi (1902), Safed Khoon (influenced
+by King Lear, 1907) and his best-known play,
+Yahudi Ki Ladki (1915), all of which were
+repeatedly filmed in the silent and early sound
+periods. His initial writing style followed the
+post-Indrasabha convention of mixing Urdu
+prose and poetry with Hindustani music. Later,
+with plays like Pehla Pyar (1911) and Van Devi
+(1916), he started writing in Hindustani,
+shifting away from historicals into socials and
+Pauranic mythologicals treated in the social
+genre: Bhishma (1925: filmed under his
+direction in 1933s), Seeta Banwas (1927). This
+linguistic and generic convergence helped,
+through his scripts, shape the films of Madan
+Theatres (Pati Bhakti, 1922; Paper Parinam,
+1924; Dharmapatni, 1926; Aankh Ka Nasha,
+1928 and Bharati Balak, 1931, which he also
+directed) and formed the persona of New
+Theatres’ famed tragedian, K.L. Saigal,
+scripting his influential Chandidas (1934),
+Yahudi Ki Ladki (1933) and writing his lyrics
+(e.g. Prem nagar mein banaoongi ghar main
+and Dukh ab din beetat nain). Turki Hoor,
+staged 1922 and filmed by J.J. Madan (1924),
+cast the male Narmada Shankar in the female
+lead, leading to censorship and the deletion of
+one scene.
+
+[[Writer]]