Source:Wikipedia
Vijay Dhondopant Tendulkar (6 January 1928 – 19 May 2008) was a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator primarily in Marāthi. He is best known for his plays Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972). Many of Tendulkar's plays derived inspiration from real-life incidents or social upheavals, which provides clear light on harsh realities. He has provided guidance to students studying "play writing" in US universities. For over five decades Tendulkar had been a highly influential dramatist and theatre personality in Mahārāshtra.
Early life
Vijay Dhondopant Tendulkar was born on 6 January 1928 in Girgaon, Mumbai, Maharashtra, where his father held a clerical job and ran a small publishing business. The literary environment at home prompted young Vijay to take up writing. He wrote his first story at age six.
He grew up watching western plays and felt inspired to write plays himself. At age eleven, he wrote, directed, and acted in his first play.
At age 14, he participated in the 1942 Indian freedom movement, leaving his studies. The latter alienated him from his family and friends. Writing then became his outlet, though most of his early writings were of a personal nature, and not intended for publication. During this period, he participated in the activities of Nabajiban Sanghatana, a splinter communist group. He said that he liked sense of sacrifice and discipline of the communists.
Early career
Tendulkar began his career writing for newspapers. He had already written a play, Āmcyāvar Koṇ Preṃ Karṇār (Who will Love us?), and he wrote the play, Gṛhastha (The Householder), in his early 20s. The latter did not receive much recognition from the audience, and he vowed never to write again.
Breaking the vow, in 1956 he wrote Śrīmant, which established him as a good writer. Śrīmant jolted the conservative audience of the times with its radical storyline, wherein an unmarried young woman decides to keep her unborn child while her rich father tries to "buy" her a husband in an attempt to save his social prestige.
Tendulkar's early struggle for survival and living for some time in tenements ("cāḷ/chawls") in Mumbai provided him first-hand experience about the life of urban lower middle class. He thus brought new authenticity to their depiction in Marathi theatre. Tendulkar's writings rapidly changed the storyline of modern Marathi theatre in the 1950s and the 60s, with experimental presentations by theatre groups like Rangayan. Actors in these theatre groups like Shriram Lagoo, Mohan Agashe, and Sulabha Deshpande brought new authenticity and power to Tendulkar's stories while introducing new sensibilities in Marathi theatre.
Tendulkar wrote the play Gidhāḍe (The Vultures) in 1961, but it was not produced until 1970. The play was set in a morally collapsed family structure and explored the theme of violence. In his following creations, Tendulkar explored violence in its various forms: domestic, sexual, communal, and political. Thus, Gidhāḍe proved to be a turning point in Tendulkar's writings with regard to establishment of his own unique writing style.
Based on a 1956 short story, Die Panne ("Traps") by Friedrich Dürrenmatt, Tendulkar wrote the play, Śāntatā! Court Cālū Āhe ("Silence! The Court Is in Session"). It was presented on the stage for the first time in 1967 and proved as one of his finest works. Satyadev Dubey presented it in movie form in 1971 with Tendulkar's collaboration as the screenplay writer.
1970s and 1980s
In his 1972 play, Sakhārām Binder (Sakhārām, the Binder), Tendulkar dealt with the topic of domination of the male gender over the female. The main character, Sakhārām, is a man devoid of ethics and morality, and professes not to believe in "outdated" social codes and conventional marriage. He accordingly uses the society for his own pleasure. He regularly gives "shelter" to abandoned wives and uses them for his sexual gratification while remaining oblivious to the emotional and moral implications of his exploits. He justifies all his acts through claims of modern, unconventional thinking, and comes up with hollow arguments meant in fact to enslave women. Paradoxically, some of the women which Sakhārām had enslaved buy into his arguments and simultaneously badly want freedom from their enslavement.
In 1972, Tendulkar wrote another, even much more acclaimed play, Ghāshirām Kotwāl ("Officer Ghāshirām"), which dealt with political violence. The play is a political satire created as a musical drama set in 18th century Pune. It combined traditional Marathi folk music and drama with contemporary theatre techniques, creating a new paradigm for Marathi theatre. The play demonstrates Tendulkar's deep study of group psychology, and it brought him a Jawaharlal Nehru Fellowship (1974–75) for a project titled, "An Enquiry into the Pattern of Growing Violence in Society and Its Relevance to Contemporary Theatre". With over 6,000 performances thus far in its original and translated versions, Ghāshirām Kotwāl remains one of the longest-running plays in the history of Indian theatre.
Tendulkar wrote screenplays for the movies Nishānt (1974), Ākrosh (The Cry) (1980), and Ardh Satya (The Half-Truth) (1984) which established him as an important "Chronicler of Violence" of the present. He has written eleven movies in Hindi and eight movies in Marathi. The latter include Sāmanā ("Confrontation") (1975), Simhāasan ("Throne") (1979), and Umbartha ("The Threshold") (1981). The last one is a groundbreaking feature film on women's activism in India. It was directed by Jabbar Patel and stars Smitā Pātil and Girish Karnād.
1990s and beyond
In 1991, Tendulkar wrote a metaphorical play, Safar, and in 2001 he wrote the play, The Masseur. He next wrote two novels — Kādambari: Ek and Kādambari: Don — about sexual fantasies of an ageing man. In 2004, he wrote a single-act play, His Fifth Woman — his first play in the English language — as a sequel to his earlier exploration of the plight of women in Sakhārām Binder. This play was first performed at the Vijay Tendulkar Festival in New York in October 2004.
In the 1990s, Tendulkar wrote an acclaimed TV series, SwayamSiddha, in which his daughter Priyā Tendulkar, noted Television actress of 'Rajani' fame, performed in the lead role. His last screenplay was for Eashwar Mime Co. (2005), an adaptation of Dibyendu Palit's story, Mukhabhinoy, and directed by theatre director, Shyamanand Jalan and with Ashish Vidyarthi and Pawan Malhotra as leads.
Family
He was the brother of acclaimed cartoonist and humourist Mangesh Tendulkar.
Death
Tendulkar died in Pune on 19 May 2008, battling the effects of the rare autoimmune disease of myasthenia gravis.
Awards
Tendulkar won Maharashtra State government awards in 1969 and 1972; and Mahārāshtra Gaurav Puraskār in 1999. He was honoured with the Sangeet Nātak Akademi Award in 1970, and again in 1998 with the Academy's highest award for "lifetime contribution", the Sangeet Natak Akademi Fellowship ("Ratna Sadasya"). In 1984, he received the Padma Bhushan award from the Government of India for his literary accomplishments.
In 1977, Tendulkar won the National Film Award for Best Screenplay for his screenplay of Shyām Benegal's movie, Manthan (1976). He has written screenplays for many significant art movies, such as Nishānt, Ākrosh, and Ardh Satya.
A comprehensive list of awards is given below:
1970 Sangeet Nātak Akademi Award
1970 Kamaladevi Chattopadhyay Award
1977 National Film Award for Best Screenplay: Manthan
1981 Filmfare Best Screenplay Award: Aakrosh
1981 Filmfare Best Story Award: Aakrosh
1983 Filmfare Best Screenplay Award: Ardh Satya
1984 Padma Bhushan
1993 Saraswati Samman
1998 Sangeet Natak Akademi Fellowship
1999 Kalidas Samman
2001 Katha Chudamani Award
2006 The Little Magazine SALAM Award
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