Momin Kavathekar, 'Gabhulalelya Chandrabanat' (a fictional love story) by Vishwas Patil , 'Tmashatil Songadya' by B. S. Shinde, 'Tamshatil Stree Kalavant- Jivan aani Samasya' by Dr. Sadhana Burade and 'Tamasha Lokrangabhumi' by Rustum AchalKhamb. Popular Vag composers of the time were Patthe Bapurao and Dattoba Sali, and one of their noted vag, Gadhavache Lagna (Marriage of Donkey) was popularized by Tamasha artist, Dadu Idurikar. Her marriage ended in a separation and her daughter was kept away from her. Termed as the "Classic Marathi Tamasha musical", it was a biopic of the poet, kirtan, and lavani performer Ram Joshi (1758-1812) set in the Peshwa period. Soon, noted Marathi writers started written Vags for Tamasha troupes. Government of Maharashtra has instituted annual award in the memory of late Vithabai Narayangavkar Lifetime Achievement Award for those who had extensively contributed to the preservation and propagation of the Tamasha Art. [19] Besides this other Marathi films made of Tamasha include, Sangte Aika (1959) directed by Anand Mane and starring Jayshree Gadkar, Sawaal Majha Aika! Wadkar signed a temporary contract with Prabhat Film Company and later wrote that the years she spent at Prabhat "were the most memorable ones of my life". Having failed at setting up a printing press, he started a theatre company called Dominic Union and got Wadkar to join it.
Shantaram. She was eight months pregnant when the film's shooting ended. The film was produced by Pendharkar's Lalit Kala Production, its "first and last" film, as Pendharkar died soon after.
She stayed virtually imprisoned there for three years, till she was able to smuggle a letter out to her husband. He arrived with the police, and took her to the magistrate's office in the neighbouring town, where she had to testify. Her other memorable roles were in the Tamasha genre films like Lokshahir Ram Joshi (1947), termed as the "Classic Marathi Tamasha musical". [6] Lokshahir Bashir Momin Kavathekar[7] wrote extensively for the famous Tamasha Troupes like Datta Mahadik Punekar, Raghuvir Khedkar, Kalu Balu Kawalapurkar, Surekha Punekar. Each tamasha mandal performs approximately 210 days in all over Maharashtra and also some border villages of Karnataka and Gujarat. However, her mother would ask her to call him over for lunch or odd jobs. In Maharashtra, there are two types of Tamasha, first is dholaki fadcha Tamasha and the other is sangeet baaricha Tamasha. Mee Tulas Tuzya Angani (I Am A Tulsi Plant in Your Courtyard) in 1955, was directed by Raja Thakur for Navchitra Films and had Wadkar in a vamp's role. Lokshahir Bashir Momin Kavathekar has been conferred with this award for year 2017-18 for his lifelong contribution to the field of Tamasha through his prolific lavani's & Vag's.[11]. She found herself in a village where Joshi, one of the men she had been drinking with brought her as his third wife.
A bilingual, made both in Marathi and Hindi, it was a historical biopic about 18th century Chief Justice Ram Shastri. One of Marathi cinema's most famous Tamasha films it was a "major hit". The cast included P. Jairaj, Chhaya Devi, Agha and K. C. Dey who also composed the music. Her career defining role was in Vishnupant Damle's Sant Sakhu (1941) where she enacted the role of the female saint Sakhu. Sant Sakhu (1941) was directed by Vishnupant Damle, Sheikh Fatelal and Raja Nene. And once again we don't find Devika Rani in the cast. In Maharashtra, the Kolhati groups are traditionally associated with the performance of Tamasha.[1]. These were either in prose or comprised long narrative poems performed by the Shahir along with his chorus, with actors improvising their lines.
Her next two films were Durga (1939) directed again by Franz Osten, and Azad (1940) directed by N. R. Acharya. Based on "Sangtye Aika", the film shows her past in black and white, and her present in colour.
[5] One of the reasons cited for the success of the film in both Marathi and Hindi, were the songs written by Madgulkar. He falls in love with the tamasha dancer Baya (Hansa Wadkar). The "vibrant lavnis" and "sawaal-jawabs" (musical question and answers) became a "trend-setter", while the … In one of the scenes a horse came charging at her while she lay prone on the ground. Though later numerous local tamasha companies flourished, patronized by mill workers living in Girgaum. Her first film for them was Navjeevan, directed by Franz Osten and released in 1939.
[2] The story writer was G.D. Madgulkar, who is cited as the "first specialist film writer" in Marathi cinema. He was not happy with Wadkar's voice, so Vinodini Dixit's voice was used as a playback singer for her.
[4], Tamasha acquired a distinct form in late Peshwa period of Maratha Empire, in the 18th century,[4] and incorporated elements of older traditional forms like Dasavatar, Gondhal, Kirtan, and Waghya-murali, part of Khandoba Bhakti Geet, amongst worshippers of the local god Khandoba.[5]. [20], A 2006 multilingual documentary film, Silent Ghungroos, traces the origins of Tamasha in the Peshwa period to its contemporary form, where the form competes with modern entertainment mediums.[21]. The father had turned into an alcoholic and there was no money coming in the house. The oldest sister and youngest brother died, leaving a second child, her brother Mohan and her.
[9] During the same period, Satyashodhak Samaj founded by Jyotirao Phule started organizing Satyashodhaki jalsa, which used the tamasha tradition in its political and reformist theatre, which was an amalgamation of proscenium tamasha and street theatre.[10].
[5], Bhumika (The Role) (1977) directed by Shyam Benegal, was based on Hansa Wadkar's autobiography and had actress Smita Patil playing Wadkar in the film. Wadkar's father had three sisters, Kesharbai, Indirabai and Sushilabai. She thus acted in two of Marathi cinema's biggest hits Lokshahir Ramjoshi and Sangtye Aika.
The word "Tamasha" is originally from Persian, meaning a show or theatrical entertainment of some kind. [8] The family returned to Bombay and Hansa attended an English medium school for two years at Aryan Education Society School. However, she had to leave school when the family faced financial problems.
She writes of assuming this defiant and oppositional attitude later on too, when wrongly accused. The directors were Vishram Bedekar, Gajanan Jagirdar and Raja Nene. [5] Her father, Bhalchander Salgaokar, was the son and grandson of "kalavantins, courtesans renowned for their musical accomplishments". [3] It was also his debut as a screenplay writer. Soon she was three months pregnant at age fifteen and Bandarkar and Wadkar were married on 6 September 1937, at Kittebhandari Marriage Hall in Bombay.
The four films Wadkar esteemed were Sant Sakhu (1941), Lokshahir Ram Joshi (1947) Pudhache Paool (1950) and Mee Tulas Tuzya Angani (1955) as they "marked four important stages" in her film career. The rise of modern Marathi theatre movement in the post-independence era, which was largely "literary drama" from with a Westernized idiom, tamasha like other prevalent indigenous theatre forms, like jatra in Bengal and bhavai in Gujarat, was also deemed "debased", even "corrupt", while being relegated to being only "folk" form. Wadkar went on to make a name for herself working in the reputable film companies like Bombay Talkies, Prabhat Film Company and National Studios.
[4] The film starred Jayaram Shiledar as Ram Joshi and Hansa Wadkar as Baya. Being ten years older than Wadkar, her brother and other family members did not approve of her closeness to him. Indira used the surname Wadkar to avoid using the family name Salgaokar, for fear of reprisal from society against women acting in films. The Telugu version won the 1959 Certificate of Merit for Best Feature Film in Telugu[9], Certificate of Merit for Best Feature Film in Telugu, "History Of Marathi Cinema In Mumbai And The Marketing Strategies Adopted", https://en.wikipedia.org/w/index.php?title=Lokshahir_Ram_Joshi&oldid=973090978, All Wikipedia articles written in Indian English, Pages using infobox film with unknown empty parameters, Creative Commons Attribution-ShareAlike License, "Ek War Sangte Kanha" (Gaulan-Sawal Jabab), This page was last edited on 15 August 2020, at 09:04.
In Armenian language "To do Tamasha" means "To follow an interesting process or entertainment". His family was deemed of a "lower caste" than the Wadkars. The music was by Keshavrao Bhole. He meets a Tamasha dancer who is only interested in money. Soon their theatre did too, initially rural tamasha companies were invited to the city for performances. Bhumika (1977) was Shyam Benegal's fourth film as a director. [16], Over the years, some modern theatre practitioners have incorporated the traditional forms like tamasha and dashavatar into their plays. It had music by Vasant Desai, with lyrics by Ram Joshi and G. D. Madgulkar. Even today, the mainstream cinema or Masala films, complete with their suggestive dance numbers, now known as item number, and humour sequences remain largely entertainment oriented. Wadkar was the third of four children. The award is being conferred since 2006 and noted recipients of the awards are Kantabai Satarkar, Vasant Avsarikar, Sulochana Nalawade, Haribhau Badhe, Mangala Bansode, Sadhu Patsute, Ankush Khade, Prabha Shivanekar, Bhima Sangavikar, Gangaram Kavathekar, Radhabai Khode Nashikkar, Madhukar Nerale. This had more to do with financial issues regarding raw colour stock. Filmindia April 1939 issue, commented on the absence of Devika Rani in the film, while mentioning Wadkar, "Bombay Talkies have given a beautiful story as usual, framed in a more beautiful technique. She became proficient in the language, working in several Hindi films at the time like Meena, Prem Patra, Zamana, and Raj Kumar with Chetan Anand.[12].
The award for year 2018-19 will be conferred upon erstwhile famous lavani performer Ms Gulabbai Sangamnerkar [12]. The film starred Jayaram Shiledar as Ram Joshi and Hansa Wadkar as Baya. Colloquially the word has come to represent commotion, or any activity or display with bustle and excitement,[3] sometimes in the sense of "a tempest in a teacup". Hansa Wadkar died on 23 Aug 1971 in Bombay Maharashtra, India. In the 1970s, during the rise of modernMarathi theatre, the tamasha form was employed as narrative device and style in several notable plays like Ghashiram Kotwal by Vijay Tendulkar, Vijaya Mehta's Marathi adaptations of Bertolt Brecht's The Good Woman of Setzuan as Devajine Karuna Keli (1972) and Caucasian Chalk Circle as Ajab Nyaya Vartulacha (1974), P. L. Deshpande's Teen paishacha Tamasha (1978), an adaptation of Brecht's The Threepenny Opera.
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The mother, father, brother and young Wadkar shifted there and she joined a Marathi medium school where she studied till class IV. Now in Maharashtra there are only 18 to 20 full-time tamasha parties.
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