WMarathi theatre is theatre in the Marathi language, mostly originating or based in the state of Maharashtra in India, and elsewhere with Marathi diaspora. Starting in the middle of the 19th century, it flourished in the 1950s and 1960s, and includes forms like Sangeet Natak and Tamasha. Today, it continues to have a marked presence in the State of Maharashtra with a loyal audience base, when most theatre in other parts of India have had tough time facing the onslaught of cinema and television. Its repertoire ranges from humorous social plays, farces, historical plays, musical, to experimental plays and serious drama of the 1970s onwards, by Vijay Tendulkar, P. L. Deshpande, Mahesh Elkunchwar and Satish Alekar, which have influenced theatre throughout India. In the post-independence era, Bengali theatre, and Marathi theatre have been at the forefront of innovations and significant dramaturgy in Indian theatre.
WVishnudas Bhave Born in Sangli and was the leading dramatist of Maharashtra in India and the pioneer of Marathi theatre, as he staged the first Marathi-language play Sita Swayamvar in Sangli 1843. In this venture, Vishnudas Bhave was fully supported by Rajasaheb Chintamanrao Patwardhan. After the success of the play Sita Swayamvar Vishnudas Bhave staged plays on episodes of the Ramayana. He traveled a lot with his troupes for the plays. He also ventured into puppet shows. Vishnudas Bhave died on 9 August 1901.
WPurushottam Laxman Deshpande (alternatively written as Pu La Deshpande, popularly known by his initials or as P. L. Deshpande, was a Marathi writer and humorist from Maharashtra, India. He was also an accomplished film and stage actor, script writer, author, composer, musician, singer and orator. He was often referred to as "Maharashtra's beloved personality".
WBalwant Pandurang Kirloskar, popularly known as Annasaheb Kirloskar, was a Marathi playwright from Maharashtra, India.
WVijaya Mehta is a noted Indian Marathi film and theatre director and also an actor in many films from the Parallel Cinema. She is a founder member of Mumbai-based theatre group, Rangayan with playwright Vijay Tendulkar, and actors Arvind Deshpande and Shriram Lagoo. She is most known for her acclaimed role in film Party (1984) and for her directorial ventures, Rao Saheb (1986) and Pestonjee (1988). As the founder member of theatre group, Rangayan, she became a leading figure in the experimental Marathi theatre of the 1960s.
WSangeet 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. 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.
WVijay Dhondopant Tendulkar 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 provide clear light on harsh realities. He has provided guidance to students studying "play writing" in US universities. Tendulkar had been a highly influential dramatist and theatre personality in Mahārāshtra for over five decades.