| 4 | | Major Marathi stage actor born in Adivare, Ratnagiri Dist., Maharashtra; one of the first practitioners of naturalist prose theatre at Maharashtra Natak Mandali (e.g. Agryahun Sutka and Bebandshahi) in an era dominated by [[SANGEET NATAK|Sangeet Natak]] musicals. Key participant, with writer-actor [[K. Narayan Kale]] and composer [[http://en.wikipedia.org/wiki/Keshavrao_Bhole|Keshavrao Bhole]], of Natyamanwantar group’s production of Andhalyanchi Shala (1933), a pinnacle of Stanislavsky (and Ibsen/Shaw) inspired naturalism in Marathi theatre, prompting [[Shantaram]] to hire all three for [[Prabhat |
| | 4 | Major Marathi stage actor born in Adivare, Ratnagiri Dist., Maharashtra; one of the first practitioners of naturalist prose theatre at Maharashtra Natak Mandali (e.g. Agryahun Sutka and Bebandshahi) in an era dominated by [[SANGEET NATAK|Sangeet Natak]] musicals. Key participant, with writer-actor [[K. Narayan Kale]] and composer [[http://en.wikipedia.org/wiki/Keshavrao_Bhole|Keshavrao Bhole]], of Natyamanwantar group’s production of Andhalyanchi Shala (1933), a pinnacle of Stanislavsky (and Ibsen/Shaw) inspired naturalism in Marathi theatre, prompting [[Shantaram]] to hire all three for [[Prabhat Studio|Prabhat]]. Kale suggests that Date’s constant effort to reconcile reformist-social literature’s stereotypes with European theatrical styles inevitably led to the expressionist technique of fragmenting characters into certain gestures and a speaking style, construed as an ‘entry into the character’s mind’ (Kale, 1950). Best-known film work with Shantaram at Prabhat (e.g. the classic Kunku and [[Shejari]]) and [[Rajkamal]] ([[Dahej]], Toofan Aur Diya), where his declamatory speech and gesture fitted Shantaram’s expressionist inclinations. Date’s style remains a characteristic of Shantaram’s influential variant of melodrama. Also directed some films at Rajkamal. Biography by V.V. Jog (1976). |