From April 1997 to April 2002 he was the Director General of the Film and Television Institute of India, Pune. He served as director of the Film and Television Institute of India, Pune, and was instrumental in establishing a psychiatric unit, the Maharashtra Manasik Arogya Sanstha, at the Sassoon Hospital, Pune. Deliverance in the year of 1981 demonstrate his versatility. Confrontation in 1975 and the Brahman in Ray's Sadgati i.e. His characterizations of the army man in Patel's Samna i.e. He has acted in art and commercial movies in Marathi, Hindi, and English, under directors like Satyajit Ray, Shyam Benegal, Gautam Ghosh, Mira Nair, and Jabbar Patel. He performed in their other productions too, and introduced the Grips children's theatre project from Germany to Pune. He did this role for over twenty years for Theatre Academy, Pune, of which he was a founder member. He started his career as an actor with his brilliantly urbane portrayal of the machinating Nana Phadnavis in Vijay Tendulkar's Ghashiram Kotwal. Mohan Agashe is also a trained psychiatrist from Pune University. He actively participated in theatre during his school days and won acclaim for his performances. This theatre personality and actor's birthplace is Bhor, in Pune district. She was a protege of Bal Gandharva.Mohan Agashe, born in 1947 is an actor in Marathi theatre.
They staged 25 new musicals, including 'Ekhadyacha Nashib', Mumbaichi Manasa', 'Anantphandi', and Abhogi through their company, Marathi Rangabhoomi.
This movie was based on the legendary play bearing the same name. The recent play Katyar Kaljat Ghusli by Zee studios opened up a new era of musical cinemas. Draupadi was then synonymous with the oppressed common Indian masses.ĭuring the 1960s, another turn came in natya sangeet with the emergence of Jitendra Abhisheki, who was credited with applying simplicity to the complex composition of Natya Sangeet. Kichak Vadh compared the Britishers with Kichak, an evil character from Mahabharata who tried to dishonour Draupadi. Few dramas, like Kichak Vadh, even agitated the British rulers to the extent that they were banned. Sangeet Sharada, for example, by portraying the feelings of a teenage girl to be married to a widower in his late seventies, brought out a social message. With popularity & success, experimentation started on stage with abandoning mythological themes and bringing social issues to audiences. They did not cover the complete epics but were limited to only small stories in them. In the blooming times, Sangeet Natakas were mainly based on mythological stories of Mahabharata or Ramayana which would hence easily connect with the masses. With British Raj then existing in India, Sangeet Natakas were compared with the Operas and thus local Marathi Indians found synonymous recreation. The new trend of Sangeet Natakas caught up with the popularity quite quickly. The trend changed with coming of sangeet Manapman, which depicts bravery of its hero Dheryadhar and his love with Bhamini which was written by Krushnaji Prabhakar Khadilkar. They consisted of a mix of Hindustani and Carnatic classical music, and lighter music.ĭuring its early period, Sangeet natak was dominated by religious plays like Sangeet Saubhdra, which is legend in Marathi sangeet natak.
Kirloskar included 209 musical pieces in his Shaakuntal of 7 acts.
It was the first musical play on Marathi stage.īut only when Balwant Pandurang Kirloskar (popularly known as Annasaheb Kirloskar) staged his first musical play Shaakuntal, based on Kalidas's play Abhijñānaśākuntalam, on Octoin Pune did the trend of Sangeet Natak really start. The integration of music in the dramas took place quite late in 1879 when play writer and producer Trilokekar presented his musical play Nal-Damayanti (नल-दमयंती). In 1843, his group staged the first public performance of Marathi play Seeta Swayamvar (सीता स्वयंवर). Vishnudas Bhave is considered the founder of Marathi theater.