Sangeet Natak in Marathi language literally means Musical Drama. As the name suggests, this form of drama combines prose as well as poetry in form of songs to convey the story. In a manner, they are very much similar to Musicals. Sangeet Natakas played a vital role in the development of Marathi theater and thus the Marathi cinema as well as Indian film industry.[1] Sangeet Natak start with praise of Lord Natraja which is called as Naandi or Mangalaacharan or Suchakpad usually the famous one "Panchatunda Nararundamaldhar" from Sangeet Shakuntal. They are popular for use of Indian classical music. The "Dramatic Music" is called Natya Sangeet, one of the two popular forms of vocal arts in Maharashtra and surrounding states. The other is Bhavageet.
Sangeet Natak
Ghashiram Kotwal being performed at Bharat Bhavan, Bhopal
Vishnudas Bhave is considered the founder of Marathi theater. In 1843, his group staged the first public performance of Marathi play Seeta Swayamvar (सीता स्वयंवर). 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). It was the first musical play on Marathi stage.
But only when Balwant Pandurang Kirloskar (popularly known as Annasaheb Kirloskar) staged his first musical play Shaakuntal, based on Kalidas's play Abhijñānaśākuntalam, on October 31, 1880 in Pune did the trend of Sangeet Natak really start.[2] Kirloskar included 209 musical pieces in his Shaakuntal of 7 acts. They consisted of a mix of Hindustani and Carnatic classical music, and lighter music.
During its early period, Sangeet natak was dominated by religious plays like Sangeet Saubhdra, which is legend in Marathi sangeet natak.[citation needed] 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.
Golden ageedit
The new trend of Sangeet Natakas caught up with the popularity quite quickly. With British Raj then existing in India, Sangeet Natakas were compared with the Operas and thus local Marathi Indians found synonymous recreation. In the blooming times, Sangeet Natakas were mainly based on mythological stories of Mahabharata or Ramayana which would hence easily connect with the masses. They did not cover the complete epics but were limited to only small stories in them.
With popularity & success, experimentation started on stage with abandoning mythological themes and bringing social issues to audiences. 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. Few dramas, like Kichak Vadh, even agitated the British rulers to the extent that they were banned. Kichak Vadh compared the Britishers with Kichak, an evil character from Mahabharata who tried to dishonour Draupadi. Draupadi was then synonymous with the oppressed common Indian masses.
During 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.
Playsedit
The recent play Katyar Kaljat Ghusli by Zee studios opened up a new era of musical cinemas. This movie was based on the legendary play bearing the same name. Its music was composed by Jitendra Abhisekhi and sung by Vasantrao Deshpande.
Notable contributionsedit
Annasaheb Kirloskar who founded the Sangeet Natakas also offered other famous plays like Sangeet Saubhadra and Ramrajyaviyog.
Bal Gandharva'sGandharva Natak Mandali; Vasudeorao Dongre's Dongre Mandali; Pandoba Gurav Yavateshwarkar's Waikar Sangeet Mandali; Janubhau Nimkar and Keshavrao Bhosale's Swadesh-Hita-Chintak Mandali, which evolved into Lalit-Kaladarsha Mandali; and Master Dinanath'sBalwant Natak Mandali were the other main performing companies which were formed in Maharashtra.
Jaymala Shiledar (1926-2013) - Jaymala, her husband Jayaram Shiledar and daughters, Kirti and Lata kept Sangeet natak alive during the lean period of 1960s to 1990s. They staged 25 new musicals, including 'Ekhadyacha Nashib', Mumbaichi Manasa', 'Anantphandi', and Abhogi through their company, Marathi Rangabhoomi. She was a protege of Bal Gandharva.[3]
^"Celebrating Jayaram Shiledar, the legend of Marathi Sangeet Natak". No. Dec 6. Times of India. timesofindia.indiatimes.com › City. Dec 6, 2015. Retrieved 26 October 2017.
Reading listedit
Asha Kasbekar (2006). Pop culture India!: media, arts, and lifestyle. ABC-CLIO. pp. 52–53. ISBN1-85109-636-1.
Book in Marathi by Govindrao Tembe "माझा संगीत व्यासंग" (My Study of Music) 1939
External linksedit
Kamat.com - Marathi Natya Sangeet
January 01, 1970
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This article includes a list of general references but it lacks sufficient corresponding inline citations Please help to improve this article by introducing more precise citations July 2011 Learn how and when to remove this message Sangeet Natak in Marathi language literally means Musical Drama As the name suggests this form of drama combines prose as well as poetry in form of songs to convey the story In a manner they are very much similar to Musicals Sangeet Natakas played a vital role in the development of Marathi theater and thus the Marathi cinema as well as Indian film industry 1 Sangeet Natak start with praise of Lord Natraja which is called as Naandi or Mangalaacharan or Suchakpad usually the famous one Panchatunda Nararundamaldhar from Sangeet Shakuntal They are popular for use of Indian classical music The Dramatic Music is called Natya Sangeet one of the two popular forms of vocal arts in Maharashtra and surrounding states The other is Bhavageet Sangeet NatakGhashiram Kotwal being performed at Bharat Bhavan BhopalCultural origins19th century Maharashtra Contents 1 History 1 1 The beginning 1 2 Golden age 1 3 Plays 2 Notable contributions 3 Natya Sangeet Maestro 4 List of famous Sangeet Nataks 5 See also 6 Further reading 7 References 8 Reading list 9 External linksHistory editThe beginning edit Vishnudas Bhave is considered the founder of Marathi theater In 1843 his group staged the first public performance of Marathi play Seeta Swayamvar स त स वय वर 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 दमय त It was the first musical play on Marathi stage But only when Balwant Pandurang Kirloskar popularly known as Annasaheb Kirloskar staged his first musical play Shaakuntal based on Kalidas s play Abhijnanasakuntalam on October 31 1880 in Pune did the trend of Sangeet Natak really start 2 Kirloskar included 209 musical pieces in his Shaakuntal of 7 acts They consisted of a mix of Hindustani and Carnatic classical music and lighter music During its early period Sangeet natak was dominated by religious plays like Sangeet Saubhdra which is legend in Marathi sangeet natak citation needed 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 Golden age edit The new trend of Sangeet Natakas caught up with the popularity quite quickly With British Raj then existing in India Sangeet Natakas were compared with the Operas and thus local Marathi Indians found synonymous recreation In the blooming times Sangeet Natakas were mainly based on mythological stories of Mahabharata or Ramayana which would hence easily connect with the masses They did not cover the complete epics but were limited to only small stories in them With popularity amp success experimentation started on stage with abandoning mythological themes and bringing social issues to audiences 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 Few dramas like Kichak Vadh even agitated the British rulers to the extent that they were banned Kichak Vadh compared the Britishers with Kichak an evil character from Mahabharata who tried to dishonour Draupadi Draupadi was then synonymous with the oppressed common Indian masses During 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 Plays edit The recent play Katyar Kaljat Ghusli by Zee studios opened up a new era of musical cinemas This movie was based on the legendary play bearing the same name Its music was composed by Jitendra Abhisekhi and sung by Vasantrao Deshpande Notable contributions editAnnasaheb Kirloskar who founded the Sangeet Natakas also offered other famous plays like Sangeet Saubhadra and Ramrajyaviyog Bal Gandharva s Gandharva Natak Mandali Vasudeorao Dongre s Dongre Mandali Pandoba Gurav Yavateshwarkar s Waikar Sangeet Mandali Janubhau Nimkar and Keshavrao Bhosale s Swadesh Hita Chintak Mandali which evolved into Lalit Kaladarsha Mandali and Master Dinanath s Balwant Natak Mandali were the other main performing companies which were formed in Maharashtra Jaymala Shiledar 1926 2013 Jaymala her husband Jayaram Shiledar and daughters Kirti and Lata kept Sangeet natak alive during the lean period of 1960s to 1990s They staged 25 new musicals including Ekhadyacha Nashib Mumbaichi Manasa Anantphandi and Abhogi through their company Marathi Rangabhoomi She was a protege of Bal Gandharva 3 Natya Sangeet Maestro edit nbsp Dinanath Mangeshkar Bal Gandharva Keshavrao Bhosale Deenanath Mangeshkar Master Krishnarao Pandit Ram Marathe Saudagar Nagnath Gore Chhota Gandharva Prasad Sawkar Bhalchandra Pendharkar Ramdas Kamat Vasantrao Deshpande Jitendra Abhisheki Jaymala Shiledar Jyotsna Bhole Manik VarmaList of famous Sangeet Nataks editTo attract the audiences many of the Sangeet Nataks used to prefix the word Sangeet before their actual name Sita Swayamvar Shaakuntal Sangeet Saubhadra Sangeet Maanaapmaan Matsyagandha Sanyastkhadga Kichak Vadh Ramrajyaviyog Mruchhakatik 1889 Sangeet Sanshaykallol Katyar Kaljat Ghusli 1967 Shapsambhram 1893 Sangeet Sharada 1899 Sangeet Swayamvar 1916 Ghashiram Kotwal Devmaanus He Bandha Reshmache Moruchi Mavshi Mandarmala Geeta Gati Dnyaneshwar Suwarnatula Sangeet Vidyaharan Ekach Pyaala Bhavbandhan Madanachi Manjiri Punya PrabhavSee also edit nbsp Music portal nbsp Theatre portal Bhavageet Natya Sangeet Musical theatre OperaFurther reading editMarathi book by Govindrao Tembe म झ स ग त व य स ग My Study of Music published 1939References edit Kasbekar p 52 Marathi Natya Sangeet Retrieved 2006 07 02 Celebrating Jayaram Shiledar the legend of Marathi Sangeet Natak No Dec 6 Times of India timesofindia indiatimes com City Dec 6 2015 Retrieved 26 October 2017 Reading list editAsha Kasbekar 2006 Pop culture India media arts and lifestyle ABC CLIO pp 52 53 ISBN 1 85109 636 1 Book in Marathi by Govindrao Tembe म झ स ग त व य स ग My Study of Music 1939External links editKamat com Marathi Natya Sangeet Retrieved from https en wikipedia org w index php title Sangeet Natak amp oldid 1196214990, wikipedia, wiki, book, books, library,
