Changes between Initial Version and Version 1 of SANGEET NATAK


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Jun 23, 2012, 12:27:19 PM (12 years ago)
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salomex
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  • SANGEET NATAK

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     1'''SANGEET NATAK''' 
     2 
     3 
     4Marathi musical theatre tradition believed to 
     5have been launched by Vishnudas Bhave's 
     6Seeta Swayamvar(1853). The play adapted the 
     7coastal folk form of Dashavtara to the 
     8proscenium, merging it with visual art and 
     9theatrical forms from Tanjore while retaining 
     10elements like the use of a mobile cu11ain to 
     11signify spaces and to frame actors. It emerged 
     12as a popular urban art form alongside the art 
     13schools (practicing the academic visual art 
     14on the elaborate stage backdrops) and 
     15the music schools of the late 19th/earlv 20th 
     16C. The best-known initial groups were 
     17Annasaheb Kirloskar's Kirloskar :Natak Mandali 
     18(Est: 1880), Keshavrao Bhosle's Lalitkaladarsh 
     19(1908), Bal Gandharva's Gandharva Natak 
     20Mandali 0913) and Govindrao Tembe's 
     21Shivrai Natak Mandali (1915). Their initial 
     22theatrical repertoire adapted Sanskrit classics 
     23and Shakespeare: e.g. the famous playright 
     24G.B. Deval wrote five major plays, three 
     25adapting Kalidasa and one Shakespeare 
     26(Othello, as Zunzbarrao, Hl90) with only one 
     27original (Sangeet Sharada, 1898). The music 
     28usually created popular vernacular versions of 
     29classical North Indian music, adapted by 
     30singers like Ramakrishnabua Vaze and 
     31Bhaskarbua Bakhle (who taught Master 
     32Krishnarao). The form increasingly came 
     33under the influence of the operatic Parsee 
     34theatre, creating an influential local version of 
     35classical art, contemporaneous with (and 
     36sometimes formally similar to) Ravi Varma's 
     37paintings. The first feature film in India, 
     38Pu11dalik 0912), is based on a Sangeei Natak 
     39play by the Shripad Sangeet Mandali, Nasik. 
     40Later, Baburao Painter- a noted painter of 
     41stage backdrops translated its conventions 
     42into cinematic mise en scene. The form greatly 
     43influenced the early Prabhat Studio via e.g. the 
     44noted composers Tembe and Krishnarao and 
     45the stage stars Bal Gandharva and Vishnu pant 
     46Pagnis, as well as many other theatre actors 
     47who turned to the cinema. Sangeet Natak 
     48troupes, travelling through Maharashtra, 
     49Gujarar, Karnataka and Madhya Pradesh, also 
     50set in place much of the distribution 
     51infrastructure of the early Kolhapur and Pune based 
     52Marathi cinema. 
     53 
     54[[Glossary]]