Traditional tamasha practitioners were from castes like Kolhati, Mahar, Mang and Bhatu from rural regions of Maharashtra, labelled low castes within the Indian caste system. Though later numerous local tamasha companies flourished, patronized by mill workers living in Girgaum. Soon their theatre did too, initially rural tamasha companies were invited to the city for performances. Momin Kavathekar wrote short dramas based on the prevailing situations, challenges and on the topics which include spreading the social awareness about various issues such as AIDS, dowry, education.Īs the textile industry started developing in Mumbai (then Bombay) in the 19th century, workers migrated here from the rural areas in large numbers. Lokshahir Bashir Momin Kavathekar wrote extensively for the famous Tamasha Troupes like Datta Mahadik Punekar, Raghuvir Khedkar, Kalu Balu Kawalapurkar, Surekha Punekar. Soon, noted Marathi writers started written Vags for Tamasha troupes. 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. These were either in prose or comprised long narrative poems performed by the Shahir along with his chorus, with actors improvising their lines. Marathi theatre made its beginning in 1843, and in the following years, Tamasha which was primarily constituted of singing and dancing expanded its thematic repertoire and added small dramatic and humorous skits, known as Vag Natya, to it. However, with time, women started taking part in Tamasha. Traditional Tamasha format consisted of dancing-boys known as Nachya, who also played women's roles, a poet-composer known as Shahir, who played the traditional role of Sutradhar or a jester known as Songadya, who compered the show. Each tamasha mandal performs approximately 210 days in all over Maharashtra and also some border villages of Karnataka and Gujarat. Now in Maharashtra there are only 18 to 20 full-time tamasha parties. Dholaki Fadcha tamasha is complete art, which includes song, dance, and theater. In Maharashtra, there are two types of Tamasha, first is dholaki fadcha Tamasha and the other is sangeet baaricha Tamasha. Tamasha acquired a distinct form in late Peshwa period of Maratha Empire, in the 18th century, 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. The inscription mentions him organizing Utsava and Samaja, forms off theatrical entertainment for his subjects. The region of Maharashtra, has had a long theatrical tradition, one of the early references was found in the cave inscriptions at Nashik by Gautami Balashri, the mother of the 1st-century Satavahana ruler, Gautamiputras Satakarni. Colloquially the word has come to represent commotion, or any activity or display with bustle and excitement, sometimes in the sense of "a tempest in a teacup". In Armenian language "To do Tamasha" means "To follow an interesting process or entertainment". The word has spread to Armenian, Hindi, Urdu and Marathi, to mean "fun" or "play". The word "Tamasha" is a loanword from Persian, which in turn loaned it from Arabic, meaning a show or theatrical entertainment of some kind.
0 kommentar(er)
