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https://archive.org/details/in.gov.maharashtra.gr.202209161320078523
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Maharashtra GR: #202209161320078523 : Government of Maharashtra : Free Download, Borrow, and Streaming : Internet Archive
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https://archive.org/services/img/in.gov.maharashtra.gr.202209161320078523
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Maharashtra Government Resolution: Title: Declaration of Vetarn Actor Prabhakar Panshikar Life time achievement award and Sangitacharya Late. Balwant Pandurang...
|
en
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Internet Archive
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https://archive.org/details/in.gov.maharashtra.gr.202209161320078523
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8363
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https://www.thehindu.com/entertainment/theatre/an-ode-to-marathi-theatre/article26267646.ece
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en
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An ode to Marathi theatre
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2019-02-14T10:22:36+00:00
|
Anant Panshikar’s latest musical celebrates 175 years of Marathi theatre
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/entertainment/theatre/an-ode-to-marathi-theatre/article26267646.ece
|
To celebrate the 175th anniversary of Marathi theatre, producer Anant Panshikar has come up the musical, ‘Chi Sau Ka Rangbhumi,’ on the relationship between Rangbhumi (stage) and Rasik Raj (audience), narrating their life together, through a selection of songs and scenes from classic Marathi plays. As the nephew of the legendary Prabhakar Panshikar, Anant has seen the glorious days of Marathi theatre.
“It was in 1843 that the first sangeet natak, ‘Sita Swayamwar’ was staged, so our production covers a period from then to 1980. Nobody has attempted to do a retro project in a play format.”
The idea for the play took root, when Panshikar was commissioned to do a production of Vasant Kanetkar’s classic ‘Matsyagandha’ (the story of Satyavati from the Mahabharat ) . “I asked Sampada Joglekar Kulkarni, with her background in dance and theatre to direct this; also because I thought a play about such a fascinating woman from the Mahabharat should be directed by a woman, and she did prove herself. We wanted to promote youngsters, so we spread the word through social media for audition. We received over 150 videos on Whatsapp and the selections were done by eminent people. The cast, all aged between 20-30 , was so talented that the play turned out very well. The Goa Hindu Association that assigned me the play wanted only 25 shows. So we had to do another musical quickly to retain this wonderful bunch of actor-singers. I thought, Marathi sangeet natak has a fascinating history, why not do something with that?”
Sampada came up with the idea of the theatre-audience marriage, which she wrote, directed and acted in as Rangbhumi (in Marathi Rangbhumi is referred to in the feminine gender). After a lot of research, plays, songs, and scenes were shortlisted, which were incorporated into the lavish production. “We tried to incorporate as much as we could. There is so much material, that I can do another version of this play with different songs and scenes. Sangeet Natak is so popular, that even today, there are revivals of 100-year-old plays such as ‘Sangeet Saubhadra’, ‘Sanshay Kallol’ and ‘Ekach Pyala’.”
Anant’s parents were classical musicians, but it was his uncle who drew him to theatre. “When I was in the tenth standard, I joined Amrut Natya Bharti, at the Mumbai Marathi Sahitya Sangha — a two-year diploma course in theatre, introduced by Kamlakar Sontakke, who had returned from the National School of Drama with a gold medal. A popular venue for Marathi theatre, I learnt a lot there, and also saw a lot of plays, some of them several times. In every middle-class family, it is important to have a job, so I went to college and also got into inter-collegiate theatre. I directed and acted in quite a few plays, but soon realised that acting was not my forte.”
After spending years working in the advertising and corporate world, in 1996, Anant decided to quit his job and do something connected with theatre. “Luckily, a Marathi channel, Tara, was launched, headed by Rathikant Basu, and I produced a lot of classic plays for television, including some by Prabhakar Panshikar, which got me closer to him. Then, around 1999, I saw an interview with him on television, in which he said, he would close down his company Natyasampada, because there was nobody to run it after him. I told him, what if I took over? That’s how I got involved with Natyasampada.
“ I gave up everything to focus on theatre. Our first production together was a new Marathi sangeet natak , ‘ Avagha Rang Ekachi Zaala.’ It turned out to be a huge hit, because after ‘Katyar Kaljat Ghusli’ in 1967, for 40 years, there had been no new musical. It gave me a lot of confidence. My interest in prayogic (experimental) theatre, led to my production of ‘Waiting For Godot,’ in which for the first time Tom Alter acted in a Marathi play.”
Over the next few years, Anant produced some new plays and many revivals of the classics, like ‘Vichcha Majhi Puri Karaa’ by Vasant Sabnis, ‘Varyavarchi Varaat’ by Pu La Deshpande, ‘Lekure Udand Zaali’ by Vasant Kanetkar, ‘Lagnachi Bedi’ by P. K. (Acharya) Atre. “Prabhakar Panshikar was with me till his death in 2011; he had retired from the stage, but he toured with us. Now, of course, the company is called Natyasampada Kala Manch, because I want to work with the new generation. With every production, I introduce a new actor, director or playwright.”
Anant also invests his own money into his productions. He confesses that not all his plays have been hits. In fact, the failure of two consecutive productions — ‘Sangeet Jagne Vhave Gaane’ and ‘Begum Memory Athvan Gulam’ — landed him in soup. “I drew on my provident fund and gratuity till the next productions pulled me through. Every business has its ups and downs. But in any other business, a down can devastate a person; at least in theatre, the creative satisfaction is very high,” he says.
On his fondness for reviving old masterpieces he says, “When I took over Natyasampada, the great playwrights like Kanetkar and Atre were no more. I thought, let me revive their plays, so I can have the credit of doing plays by those doyens. All those plays were successful—in fact for Pula’s Varyavarchi Varaat, for 25 shows I did not even advertise the celebrity cast, people came for Pula; picking new plays is a challenge, however, since there is no formula for success. Nobody can predict what the audience will like and what will make money for the producer.”
One big hurdle that he sees is that Marathi theatre is losing a young audience. “The youngest viewer must be 40; I have been trying for many years, but the average age of the audience is just not coming down. That’s why I try to work with new people and fresh concepts — young people can make a major difference to the kind of plays we do.”
He is also content being a producer, the man who brings the right talent and the right project. “The producer is usually taken for granted and seldom gets enough credit, but I am happy to stay behind the scenes. When the audience appreciates a play, there is a kind of satisfaction, a ‘kick’ in that.”
The writer is a critic and columnist
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| 54
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https://gist.github.com/7a5a84812d821e670fc333c7119fd13e
|
en
|
Weavebox for "To Mee Navhech" has been created by an user, the box can be viewed at To_Mee_Navhech (http://weavebox.in/To_Mee_Navhech), fork it, or create your own at http://weavebox.in
|
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Weavebox for "To Mee Navhech" has been created by an user, the box can be viewed at To_Mee_Navhech (http://weavebox.in/To_Mee_Navhech), fork it, or create your own at http://weavebox.in - 30bf1a4a6b68d287496728414198d458.json
|
en
|
Gist
|
https://gist.github.com/chandanGoa/7a5a84812d821e670fc333c7119fd13e
|
{"tags":["Indian_literature","Indian_plays","Marathi_literature"],"properties":{"writer":"Prahlad_Keshav_Atre","released":"1962","reason":"needs rewriting in good English","starring":"Prabhakar_Panshikar","director":"Vinayak_Chaskar","country":"India","language":"Marathi_language","abstract":"To Mee Navhech (Translated as: That's not me, (Marathi: \u0924\u094b \u092e\u0940 \u0928\u0935\u094d\u0939\u0947\u091a)) is a classic Marathi play written by Acharya Atre based on the court case of Madhav Kazi, who was an active criminal in the year 1955-1960. Though the protagonist role has been played by many actors since its inception in 1962, the role of Lakhoba Lokhande played by Prabhakar Panshikar is the most memorable. To Mee Navech is probably the first play in the world where the same actor has to do five completely different roles, not to merely add to novelty value or as a stunt, but because the story demands it. To Mee Navhech was also among the first Marathi plays to make use of the Revolving Stage (\u092b\u093f\u0930\u0924\u093e \u0930\u0902\u0917\u092e\u0902\u091a) between two scenes. This is also translated in many regional languages. The play has crossed over 3000 shows in total over a span of 52 years which itself is a record.","wikiPageRevisionID":"724644923","wikiPageID":"19491132","date":"August 2011","producer":"Pradeep Dalvi"},"categories":["Movie","CreativeWork"],"":{"":["To_Mee_Navhech"]},"ontology":{"wikiPageRedirects":["To_Mi_Navhech","To_mi_navhech"]},"featured_image":""}
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https://www.business-standard.com/article/pti-stories/actor-jayant-sawarkar-to-get-maha-lifetime-award-for-theatre-118110501125_1.html
|
en
|
Actor Jayant Sawarkar to get Maha lifetime award for theatre
|
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"Marathi people",
"India",
"Prabhakar Panshikar",
"Prabhakar",
"Marathi language",
"Chandrakant Limaye",
"Maharashtra",
"Ram Marathe",
"Jyostna Bhole",
"tabla artist",
"Manik Verma",
"Jayant Sawarkar",
"Jitendra Abhishekhi",
"Kishori Amonkar",
"Samrat Singh",
"Vinayak Thorat",
"artist",
"actor",
"Maharashtra government",
"KIRLOSKAR",
"player",
"Pandit Bhimsen Joshi",
"Culture Minister",
"Vinod Tawde",
"Mogubai Kurdikar",
"Vijay Tendulkar",
"Noted Marathi",
"Vinod Tawde Monday"
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[
"Press Trust of India",
"Business Standard"
] |
2018-11-05T19:20:32+05:30
|
Noted Marathi actor Jayant Sawarkar will be honoured with the Maharashtra government's Natvarya Prabhakar Panshikar Lifetime Achievement award in the field of theatre.
The Sangeetacharya Annasaheb Kirloskar Lifetime Achievement will be bestowed on tabla artist Vinayak Thorat.
Culture Minister Vinod Tawde Monday said both awards comprise cash prizes of Rs 5 lakh, citation and memento each.
Sawarkar started his career in Marathi theatre as a backstage artist and got an opportunity in playwright Vijay Tendulkar's play "Manus Navache Bet".
His role as a clown in Acharya Atre's "Samrat Singh" made him popular.
Thorat has accompanied top artists like Jitendra Abhishekhi, violin player D Datar, Mogubai Kurdikar, Pandit Bhimsen Joshi , Kishori Amonkar, Ram Marathe, Manik Verma and Jyostna Bhole.
Tawde said the dates of the presentation of the award will be announced soon.
|
en
|
https://www.business-standard.com/favicon.ico
|
https://www.business-standard.com/article/pti-stories/actor-jayant-sawarkar-to-get-maha-lifetime-award-for-theatre-118110501125_1.html
|
Disclaimer: No Business Standard Journalist was involved in creation of this content
|
|||||
8363
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1
| 0
|
https://en.wikipedia.org/wiki/Prabhakar_Panshikar
|
en
|
Prabhakar Panshikar
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
|
https://en.wikipedia.org/static/favicon/wikipedia.ico
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2007-01-13T11:18:34+00:00
|
en
|
/static/apple-touch/wikipedia.png
|
https://en.wikipedia.org/wiki/Prabhakar_Panshikar
|
Prabhakar Panshikar (Marathi: प्रभाकर पणशीकर) (14 March 1931 – 13 January 2011) also known as Pant was an actor on Marathi Stage. His character as Lakhoba Lokhande in the drama To Mi Navhech, written by Prahlad Keshav Atre is considered to be one of the immortal roles presented so far on the Marathi theatre. Five unique characters played in this drama To Mee Navhech made him famous in Marathi theatre and Maharashtra. He also performed Aurangzeb's role in a play Ithe Oshalala Mrutyu based on the death of Sambhaji Raje Bhosale. He was the owner of Natyasampada, a Marathi drama production organization.[1][2]
Biography
[edit]
Panshikar was born into a family of Karhade Brahmin in Phanaswadi, Mumbai. His forefathers had been Sanskrit scholars with his Grandfather translating into Marathi Nighantu Ratnakar, the authoritative manual of Ayurvedic treatment.[3] He had three brothers who were all masters of Sanskrit language. The Panshikar are originally from Goa, with their roots in the Panshi village in Pernem Taluka.
Prabhakar had enacted in Khotachiwadi when he spend some time at Ramji Purshottam Chawl – V.P. Road. Younger Prabhakar was engrossed in acting and theaters from his childhood. During his school days, he not just watched several famous plays from renowned theater companies, but also he performed them in Ganesha Festival at Girgaon, Mumbai. His passion towards drama took him away from family in his early teens. Later on 13 March 1955, he began his profession in Marathi Stage with a play Ranicha Baag. At the age of 25, he joined writer-director M. G. Rangnekar's organization Natyaniketan and started to act in plays like Kulwadhu, Bhumikanya Sita, Vahini, and Khadashtak.
Initially, Panshikar worked and acted under the guidance of veteran Marathi drama director M.G. Rangnekar. Rangnekar gave him his break in the play To Mi Navhech by offering him the main role in 1962. The show became so popular that it was subsequently translated into other Indian languages like Gujarati and Kannada. He has to his credit the distinction of performing as an actor & producer on screen, stage and television. He formed an organization named Natyasampada and he developed local artists and launched them in cities like Pune, Mumbai, Kolhapur, Nagpur etc. He has spent 53 years on stage with over 8000 performances to his credit.[4] Panshikar also produced very famous Marathi play Katyar Kaljat Ghusali under his organization. Based on the play a record breaking Marathi movie was released with the same name, in which famous Marathi actor Sachin Pilgaonkar and renowned singer Shankar Mahadevan played lead roles.
Personal life
[edit]
Panshikar was married to Vijaya (née Kulkarni), with whom he had three children and seven grand children. His elder daughter, Janhavi Panshikar-Singh, is also an actress. She is married to TV actor Shakti Singh. Panshikar's son, Raghunandan Panshikar, is Hindustani classical singer and is a disciple of noted singer Kishori Amonkar. Raghunandan is married to Aparna Deshpande and the couple have two children. Panshikar's younger daughter, Tarangini, is a gold medallist in Sanskrit. She is married to marine engineer Narendra Khot. They have two children.
Death
[edit]
Panshikar died in Pune on 13 January 2011 from cardiac arrest.[5][6]
Selected plays
[edit]
Bhatala Dili Osari
To Mee Navhech
Ithe Oshalla Mrutyu
Ashroonchi Zhali Phule
Thank You Mr.Glad
Jithe Gavtala Bhale Phuttat
Jwalamukhi
Selected plays as producer
[edit]
Sangeet Madanachi Manjiri
Sangeet Suvarna Tula
Katyar Kaljat Ghusali
Andhar Maza Sobati
Kimayagar
Putrakameshti
"Sangeet Awagha Rang Ekachi Zaala"
"Many Happy Returns (Marathi Play)"
"Vichcha Majhi Puri Karaa"
"Varyavarchi Varaat"
"Lekure Udand Jaali"
"Lagnachi Bedi"
Honours and awards
[edit]
Vishnudas Bhave Suvarnapadak[citation needed]
Zee Chitra Gaurav Lifetime Achievement
Rajarshee Shahu Suvarnapadak[citation needed]
Natyagaurav Puraskar[7]
Sanget Natak Akademi Puraskar[citation needed]
Natasamrat Bal Gandharva Smriti Puraskar[citation needed]
Natashreshtha keshavrao Date Puraskar[citation needed]
Dr.Kashinath Ghanekar Smriti Puraskar[citation needed]
Natvarya Dattaram Puraskar[citation needed]
Acharya Atre Puraskar[citation needed]
Kalashri Puraskar[8]
Uttung Puraskar[citation needed]
Maharashtra Gaurav Puraskar[9]
Jagatik Marathi Parishad Puraskar[citation needed]
Dinanath Mangeshkar Smriti Puraskar[citation needed]
NatyaDarpan -'Man of the Year'[citation needed]
Natasamrat Nanasaheb Phatak Smriti Puraskar[citation needed]
Navratna Puraskar[citation needed]
Ratnappa Kumbhar Puraskar[citation needed]
Maharashtra Bhushan Puraskar[citation needed]
First Jeevan Gaurav Puraskar of State Govt., Maharashtra, later this award was named Prabhakar Panshikar award.[10]
See also
[edit]
Karhade Brahmin
List of Marathi people
References
[edit]
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Prabhakar Vishnu Panshikar
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Prabhakar Vishnu Panshikar was an actor, director, and manager in commercial Marathi theatre.
|
https://www.indianetzone.com/images_test/inz_small_icon.ico
|
IndiaNetzone.com
| null |
Prabhakar Vishnu Panshikar was an actor and director of Marathi Theatre. He was also a manager in commercial Marathi theatre. Prabhakar Vishnu Panshikar was born in Bombay in 1931. He began his career as an actor in 1955 when he joined M. G. Rangnekar's Natyaniketan, and was trained by directors like Rangnekar and Nandu Khote. Real popularity came as the conman protagonist in Atre's to mi navhech or 'I'm Not Him' in 1962, of which he must have done over 1500 shows. However, he left owing to differences of opinion with Rangnekar and established his own company, Natyasampada, with Vasudev Kolhatkar and Mohan Wagh. Their first three productions failed miserably. The break came with Vasant Kanetkar's Ashrunchi jhali phule or 'Tears Have Become Flowers' in 1966. In that play his role of the professor-turned-goonda won tremendous appreciation. Later ventures, both prose drama and Sangitnatak proved almost equally successful, like Darwhekar's Katyar kaljat ghusli or 'Dagger Pierced the Heart' in 1967. He is said to have notched up over 5000 performances as an actor.
This article is a stub. You can enrich by adding more information to it. Send your Write Up to content@indianetzone.com
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Prabhakar Vishnu Panshikar
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Prabhakar Vishnu Panshikar was an actor, director, and manager in commercial Marathi theatre.
|
https://www.indianetzone.com/images_test/inz_small_icon.ico
|
IndiaNetzone.com
| null |
Prabhakar Vishnu Panshikar was an actor and director of Marathi Theatre. He was also a manager in commercial Marathi theatre. Prabhakar Vishnu Panshikar was born in Bombay in 1931. He began his career as an actor in 1955 when he joined M. G. Rangnekar's Natyaniketan, and was trained by directors like Rangnekar and Nandu Khote. Real popularity came as the conman protagonist in Atre's to mi navhech or 'I'm Not Him' in 1962, of which he must have done over 1500 shows. However, he left owing to differences of opinion with Rangnekar and established his own company, Natyasampada, with Vasudev Kolhatkar and Mohan Wagh. Their first three productions failed miserably. The break came with Vasant Kanetkar's Ashrunchi jhali phule or 'Tears Have Become Flowers' in 1966. In that play his role of the professor-turned-goonda won tremendous appreciation. Later ventures, both prose drama and Sangitnatak proved almost equally successful, like Darwhekar's Katyar kaljat ghusli or 'Dagger Pierced the Heart' in 1967. He is said to have notched up over 5000 performances as an actor.
This article is a stub. You can enrich by adding more information to it. Send your Write Up to content@indianetzone.com
|
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https://starsunfolded.com/dr-kashinath-ghanekar/
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Dr. Kashinath Ghanekar Age, Death, Wife, Family, Biography & More
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2023-06-06T10:58:33+05:30
|
Dr. Kashinath Ghanekar was a popular Indian actor and dentist. Check this page to read his biography- age, wife, death, career, family and much more!
|
en
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http://starsunfolded.com/wp-content/uploads/2018/03/Favicon-1.png
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StarsUnfolded
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https://starsunfolded.com/dr-kashinath-ghanekar/
|
Quick Info→
Hometown: Chiplun, Maharashtra
Death Cause: Cardiac Arrest
Age: 56 Years
Bio/Wiki Profession(s)Film Actor, Theatre Artist, and Dentist Physical Stats & More Height (approx.)in centimeters- 168 cm
in meters- 1.68 m
in feet & inches- 5’ 6” Eye ColourBlue Hair ColourBlack Career DebutTheatre Play, Marathi (Actor): Shitu (1952)
Film, Marathi (Actor): Laxmi Aali Ghara (1952)
Film, Hindi (Actor): Daadi Maa (1966)
Last FilmChandra Hota Sakshila (Marathi, 1978)
Personal Life Date of Birth14 September 1930 (Wednesday) BirthplaceChiplun, Maharashtra Date of Death2 March 1986 (Sunday) Place of DeathA rural village in Amravati, Maharashtra Age (at the time of death) 56 Years Death CauseCardiac Arrest Zodiac signVirgo Nationality Indian HometownChiplun, Maharashtra Relationships & More Marital Status (at the time of death)Married Marriage DateSecond Marriage- 1983 Family Wife/Spouse• First Wife: Irawati M. Bhide; divorced (Gynecologist and Obstetrician)
• Second Wife: Kanchan; married in 1983
ChildrenDaughter- Rashmi Ghanekar (From Second Wife)
Some Lesser Known Facts About Dr. Kashinath Ghanekar
Did Dr. Kashinath Ghanekar smoke?: Yes
Did Dr. Kashinath Ghanekar drink alcohol?: Yes
Dr. Kashinath Ghanekar was a popular Indian film and theatre actor.
He did his schooling and higher studies from Chiplun, Maharashtra.
As per the sources, the relationship between Dr. Kashinath and his father was not good.
After his divorce from his first wife, he got married to Kanchan in 1983, who is the daughter of the veteran Indian actress, Sulochana. Kanchan and Dr. Kashinath had a huge age gap.
While working as a dentist, he got an opportunity, to work as a part time prompter in stage shows.
Later, he performed as an actor in many Marathi theatre plays, like ‘Tujhe Aahe Tujpashi’ (1952), ‘Sundar Mi Honar’ (1952), ‘Madhumanjiri’ (1952), ‘Laxmi Aali Ghara’ (1952), ‘Raygadala Jevha Jaag Yete’ (1962), ‘Ashroonchi Zhali Phule’ (1963), ‘Ithe Oshalala Mrutyu’ (1968), ‘Garambicha Bapu’ (1972), ‘Guntata Hruday He’ (1972), and ‘Anandi Gopal’ (1976).
His famous Marathi theatre plays are ‘Raygadala Jevha Jaag Yete’ (1962) in which he played the role of Sambhaji and Ashroonchi Zhali Phule’ in 1963 in which he played the character of “Lalya.”
He acted in many Marathi films, like ‘Dharm Patni’ (1953), ‘Maratha Tituka Melvava’ (1963), ‘Paathlaag’ (1964), ‘Madhuchandra’ (1967), ‘Ghar Gangecha Kathi’ (1975), and ‘Ha Khel Savalyancha’ (1976). His gained immense popularity with the Marathi film ‘Madhuchandra’ (1967). He appeared in two Hindi films ‘Daadi Maa’ (1966) and ‘Abhilasha’ (1968).
He was immense popular in his era, his shows used to be housefull, and the tickets of his stage shows were mostly black marketed. After one of his stage shows, a few ladies gathered outside Mumbai’s Shivaji Mandir and wanted to take him to their home.
He was the first superstar of Marathi cinema and used to get Rs 500 per show; he was the highest paid theatre artist at that time.
As per some sources, his rise in career coincided with the formation of the political party, ‘Shiv Sena’ (1966).
Reportedly, the Indian stage actor, ‘Prabhakar Panshikar’ was one of his close friends, and he had conflicts with the Indian film and stage actor, Dr Sreeram Lagoo.
In his rememberance, a modern theatre with an auditorium, ‘Dr. Kashinath Ghanekar Natyagruha’ is built by the Thane Municipal Corporation in Hiranandani Meadows, near Ghodbunder Road, Vasant Vihar, Thane West, Maharashtra 400607.
In 2018, a Marathi film based on his life titled ‘Ani… Dr. Kashinath Ghanekar’ was released. In 2020, his biopic was released on Netflix.
His wife, Kanchan, wrote a biography titled “Nath Ha Maza,” meaning “such was my husband,” after the demise of Dr. Kashinath.
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https://imshouston.org/event/pandit-raghunandan-panshikar/
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Pandit Raghunandan Panshikar – Indian Music Society of Houston
|
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https://imshouston.org/event/pandit-raghunandan-panshikar/
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Hindustani vocal by Pandit Raghunandan Panshikar, disciple of the late Kishori Amonkar ji.
Tabla: Bharat Kamath
Harmonium: Suyog Kundalkar
About the Artist
Born into a lineage of Sanskrit scholars and classical musicians and as the son of the eminent Marathi stage actor and producer Prabhakar Panshikar, Raghunandan Panshikar’s aptitude for music was recognized and fostered from an early age.
At 11, Raghunandan began his formal study of music in Mumbai under the tutelage of the late Pandit Vasantrao Kulkarni. Six years later, he commenced training with the doyen of the Jaipur-Atrauli gharana, Gaan Saraswati Smt. Kishori Amonkar. Over the next 20 years up to the year 2000, under Kishori-ji’s keen guidance, he worked painstakingly to imbibe her complex and unique musical style through rigorous daily riyaaz. During this time, Raghunandan was also fortunate to learn from Kishori-ji’s mother and guru, the late Gaan Tapaswini Smt. Mogubai Kurdikar, who had learned directly from the the late Sangeet Samrat Ustad Alladiya Khan, founder of the Jaipur-Atrauli gharana. By training with both Mogubai-ji and Kishori-ji, Raghunandan achieved an authenticity in many aspects of the Jaipur-Atrauli style – a full throated akaar, dazzling taans, a sophisticated use of techniques such as meend and gamak, and a clever grasp of the intricacies of layakari.
However, it is sometimes very difficult to keep a truly creative soul bound within the walls of a single school. Today, Raghunandan’s ‘Gayaki’ has evolved into a unique and original style enriched immensely by influences of several contemporary maestros. Decades of relentless ‘riyaz’ and complete surrender to Music are now reflecting very clearly in his performances. He has rightfully earned his place among the topmost vocalists of his generation.
In addition to a mastery of the presentation of classical raags, Raghunandan’s command of semi-classical genres (thumri, ghazal, bhajan, abhang, natya sangeet, bhaawgeet etc) accounts for his versatility & singularity among Hindustani vocalists. Over the years, Raghunandan has developed an innate, emotive vocal quality and honed his Hindi/Urdu, Marathi, and Sanskrit diction. Raghunandan has recorded numerous classical vocal albums under reputed record labels such as HMV (Mumbai), Sony, Times Music and Alurkar Music House (Pune).
The magic of Raghunandan’s voice has charmed audiences throughout India and abroad. Very early in his musical career, he has already been conferred with numerous awards.
The restless creative urge within, has however taken Raghunandan far beyond the confines of a typical vocalist’s accomplishments.
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https://www.hindustantimes.com/mumbai/veteran-theatre-actor-dies-after-prolonged-illness/story-i6i2qjn8gx1cp4oxzImscM.html
|
en
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Veteran theatre actor dies after prolonged illness
|
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2011-01-14T01:18:46+05:30
|
Veteran theatre actor Prabhakar Panshikar, died late on Thursday evening at a private hospital following prolonged illness. He was 80. He is survived by his wife, two sons and a daughter. | Mumbai news
|
en
|
Hindustan Times
|
https://www.hindustantimes.com/mumbai/veteran-theatre-actor-dies-after-prolonged-illness/story-i6i2qjn8gx1cp4oxzImscM.html
|
Panshikar was admitted to a private hospital in Pune last week in a critical condition.
He was put on a ventilator for the last few days and doctors were planning to perform a angioplasty. However, he passed away at 9.15 pm on Thursday.
Panshikar’s association with Marathi theatre lasted for more than five decades, and he performed in more than 8,000 shows. Apart from Marathi theater, he also acted in Kannada and Gujrathi plays.
Panshikar’s theatre company, Natyasampada, produced more than 40 plays, most of which became household names in Maharashtrian families in the sixties.
However, Panshikar, is still remembered for his role — Lakhoba Lokhande – in `To Mee Navech’ a famous play written by Acharya Atre.
Panshikar played five different roles in ‘To Mee Navech’ and the play was staged for more than four decades, creating history in Marathi theatre. Panshikar is also credited for creating the world’s first portable revolving stage, which was used in ‘To Mee Navech’.
Born in Fanaswadi in March 1931, in a traditional Brahmin family, Panshikar began his career with veteran Marathi writer MG Rangnekar’s Natyaniketan but later formed a separate company — Natyasampada — along with Mohan Wagh.
Natyasampada’s first production `Asrunchi Zali Fule’, written by Vasant Kanetkar, was a huge success in 1963.
Natyasampada produced several hits like `Garambicha Bapu’, Veej Mhanali Dhartila’, `Vikat Ghetala Nyaya’, `Andhar Maza Sobati’, `Thank You Mr Glad’ amongst others.
His musical plays, ‘Katya Kaljat Ghusli’, ‘Madnachi Manjiri’, ‘Suvarnatula’ and ‘Honaji Bala’ rejuvenated musicals in Marathi theatre.
Panshikar was honoured with several awards and was known for his outspokenness. He was president of the Akhil Bharatiya Marathi Natya Sammelan.
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https://www.pressreader.com/india/india-today/20130902/283150016348010
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Zeitungen aus der ganzen Welt
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Digital newsstand featuring 7000+ of the world’s most popular newspapers & magazines. Enjoy unlimited reading on up to 5 devices with 7-day free trial.
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https://omkar21.wordpress.com/2018/11/08/movie-review-ani-dr-kashinath-ghanekar/
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Movie review: Ani Dr. Kashinath Ghanekar
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2018-11-08T00:00:00
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Rating: 4/5 stars (A must watch) Subhod Bhave has become the face for many legendary personalities since the past few years. 'Ani Dr. Kashinath Ghanekar' is also one such biopic where he plays the role of Dr Kashinath Ghanekar. The movie being a biopic portrays the on and off stage life of the actor through…
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en
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pictureboltahai
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https://omkar21.wordpress.com/2018/11/08/movie-review-ani-dr-kashinath-ghanekar/
|
Rating: 4/5 stars (A must watch)
Subhod Bhave has become the face for many legendary personalities since the past few years. ‘Ani Dr. Kashinath Ghanekar’ is also one such biopic where he plays the role of Dr Kashinath Ghanekar. The movie being a biopic portrays the on and off stage life of the actor through various phases of his life.
Speaking in many reality shows, the cast made it clear that none of them tried to mimic the personalities they were playing. They all trusted the director–that is Abhijeet Deshpande–for his vision and research, as Deshpande has not failed in delivering a hit.
The movie revolves around the life of Ghanekar, the tragedies and upsets he faced which came hand in hand with fame. Ghanekar, a theater-lover known as the first superstar in Marathi clearly failed to handle fame which was destined to him. He took on acting seriously after his wife–who was not very fond of his acting–allowed him to do so in exchange of not being able to give him a child. This was perhaps the greatest compensation for the theater industry.
Chasing his passion Ghanekar proved to be a versatile actor and a huge contributor to Marathi theater, especially when the crowd was shifting towards Bollywood films. It wouldn’t be wrong to say that Marathi theater industry owes him for being active in the present years.
The star cast in the movie is one every director would dream of. Apart from Bhave the main cast consists of big names like Sumeet Raghavan as Dr. Sriram Lagoo, Anand Ingle as Vasant Kanetkar, Sonali Kulkarni as Sulochana Latkar and Prasad Oak as Prabhakar Panshikar. Everyone has lived up to their reputation as actor. Even Vaidehi Parshurami who plays the role of Kanchan Ghanekar (Ghanekar’s second wife) has done a fairly good job.
The friendship between Panshikar and Ghanekar is one of the standout in the whole film. Panshikar plays a vital role in the life of Ghanekar that deteriorates after the entry of Dr. Lagoo in the movie. One finely directed scene comes right after interval when Panshikar and Ghanekar are are sitting on a seesaw-type cart, balancing themselves as Panshikar uses metaphor and says “Me uthin tar tu padshil” (If I get up, you will fall). The scene makes so much sense in context of Panshikar’s character. The movie consists of many such scenes if observed.
The movie also shows the bitter relation between Ghanekar and Dr. Lagoo. It showcases two different genres of theater and the appreciation they received. The cold war between the two actors and the dialogues are very immaculately executed. There are few new songs in the movie as the some songs are used as it is. The music video of those songs are also replicated to good effect.
There is also a parallel story line of a character named Dinkar Phule, which goes on. Phule, a college student is Ghanekar’s biggest fan and a theater lover. His love for Ghanekar is seen at every stage of his life. His character takes an interesting turn post the interval which ends in a tragic way.
The movie, which is going housefull in cinema halls across the state is an example of the greatness of Ghanekar and his contribution. However, while watching the movie surely a Dinkar Phule in everyone will die somewhere.
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2
| 95
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https://alchetron.com/To-Mee-Navhech
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en
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To Mee Navhech
|
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2017-08-18T08:30:48+00:00
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To Mee Navhech (Translated as That's not me, (Marathi )) is a classic Marathi play written by Acharya Atre based on the court case of Madhav Kazi, who was an active criminal in the year 19551960. Though the protagonist role has been played by many actors since its inception in 1962, t
|
en
|
/favicon.ico
|
Alchetron.com
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https://alchetron.com/To-Mee-Navhech
|
Background
A conman Lakhoba Lokhande is being prosecuted in the court of law for allegedly duping people, marrying women for money and essentially living multiple lives. He tries to defend his own self by asking uncomfortable questions to each witness during the cross-questioning. The entire play is set in a courtroom scene with a revolving set used for cut scenes and flashbacks.
Storyline
The storyline focuses on a con Lakhoba Lokhande, who claims he is a tobacco merchant from Nipani. The drama starts with a courtroom scene in which Lakhoba Lokhande is sitting in the defendant box. He has been accused by the prosecution of swindling different persons through disguise and fraud. The prosecution lawyer presents many witnesses, most of whom are the victims of Lakhoba's embezzlement (and in some cases torture). The witnesses narrate their experiences with the defendant through flashbacks. Lakhoba runs his own case after firing his lawyer. He cross questions the witnesses and during the process pleads his innocence by saying "To Mee Navhech".
Lead role played by
Prabhakar Panshikar
Sumeet Raghavan
Girish Oak
Pushkar Shrotri
Other role played by
Dattopant Angre
Nanda Patkar
Chadrachud Vasudev
Bipin Talpade
Vasudev Date
Eran Joseph
Purushottam Bal
Kusum Kulkarni
Saroj Naik
Mandakini Bhadbhade
Bholaram Athavale
Shripad Joshi
Tone of Narrative
The general tone of the narrative of "To Mee Navhech" means is rather sarcastic. Playwright Atre wanted the name "Mee To Navhech" but then Director Mo Ga Ranganekar went ahead with "To Mee Navhech" leaving Atre furious. The book is also published by same name. In that book, Atre wrote that Ranganekar did not suggest the name. Atre had already decided the name because the protagonist in the play used it many times "To Mi Navhech". The 1st show of this play was done on 8th Oct. 1962 in Delhi
Remakes
Naan Avanillai (1974) [Tamil] with Gemini Ganesan
Woh Main Nahin (1974) [Hindi] with Navin Nischol
Naan Avanillai (2007) [Tamil] with Jeevan
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https://www.heraldgoa.in/Goa/The-Sunday-Roundtable/the-panditji-i-knew-notes-from-his-goan-disciple/44316
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en
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Herald: The Panditji I knew: Notes from his Goan disciple
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PANJIM, JAN 24
An ardent car lover and a person who had the impeccable quality to remember names and numbers for lifetime, Bharat Ratna Pandit Bhimsen Joshi had several facets to his life besides being India's greatest classical singer.
|
oHeraldo
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https://www.heraldgoa.in/Goa/The-Sunday-Roundtable/the-panditji-i-knew-notes-from-his-goan-disciple/44316
|
25 Jan 2011 | 12:00am IST
The Panditji I knew: Notes from his Goan disciple
PANJIM, JAN 24 An ardent car lover and a person who had the impeccable quality to remember names and numbers for lifetime, Bharat Ratna Pandit Bhimsen Joshi had several facets to his life besides being India's greatest classical singer.
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0
| 35
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https://www.indiamart.com/company/10208029/aboutus.html
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en
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Raghunandan Panshikar Music Classic - Service Provider from Laxmi Nagar Parvati, Pune, India
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https://www.indiamart.com/company/10208029/aboutus.html
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Born into a lineage of Sanskrit scholars and classical musicians and as the son of the eminent Marathi stage actor and producer Prabhakar Panshikar, Raghunandan Panshikar's aptitude for music was recognized and fostered from an early age.At 11, Raghunandan began his formal study of music in Mumbai under the tutelage of the late Pandit Vasantrao Kulkarni. Six years later, he commenced training with the doyen of the Jaipur-Atrauli gharana, Gaan Saraswati Smt. Kishori Amonkar. Over the next 17 years under Kishori-ji's keen guidance, he worked painstakingly to imbibe her complex and unique musical style through rigorous daily riyaaz. During this time, Raghunandan was also fortunate to learn from Kishori-ji's mother & guru, the late Gaan Tapaswini Smt. Mogubai Kurdikar, who learned directly from the the late Sangeet Samrat Ustad Alladiya Khan, founder of the Jaipur-Atrauli gharana. By training with both Mogubai-ji and Kishori-ji, Raghunandan achieved an authenticity in many aspects of the Jaipur-Atrauli style - a full throated akaar, dazzling taans, a sophisticated use of techniques such as meend and gamak, and a clever grasp of the intricacies of layakari.Now Raghunandan's Gayaki (style of singing) emerging as a perfect blending of various styles of different gharanas and today his name is recognised as a talented and matured artiste of current generation.In addition to a mastery of the presentation of classical raags, Raghunandan's command of semi-classical genres (thumri, ghazal, bhajan, abhang, etc.) accounts for his versatility & singularity among Hindustani vocalists. By training with Kishori-ji in these various styles, Raghunandan developed an innate, emotive vocal quality and honed his Hindi/Urdu, Marathi, and Sanskrit diction. Raghunandan's presentation of ghazal compositions of Kishori-ji have enthralled music aficionados.Raghunandan has recorded many classical albums under reputed record labels such as HMV (Mumbai) and Alurkar Music House (Pune). His commercially available raags are Bhoop Nat, Niranjani Todi, a Pahadi Thumri, Bhoop, Sampoorna Malkauns, Pooriya Dhanashree, Anand Malhar, Nayaki Kanhada, Bilaskhani Todi, Shuddha Sarang, Hansadhwani, Mishra Kafi, and Basant Bahaar.Raghunandan's magical classical and semi-classical music performances have charmed audiences throughout India, in the states of Maharashtra, Karnataka, Goa, Delhi, Madhya Pradesh, Uttar Pradesh, Punjab, Bengal, and Kerala. Very early in his musical career, he has already been conferred with numerous awards, such as the 'Dattopant Deshpande Puraskar' (1992, Pune), the ‘Sangeet Kala Ratna Puraskar’ (2000, Patna), and the 'Manik Verma Puraskar' (2005, Pune).Raghunandan made his mark in playback singing also when he sang for the Hindi art-film by Govind Nihalani, ‘Drishti’, whose music was composed by Kishori-ji.Pursuing as a classical vocalist, Raghunandan has successfully achieved name and fame as a music composer in various musical aspects such asMarathi stage drama- 'Avgha Rang Ekchi Zala' written by Dr.Meena Nerurkar and produced by Natyasampada.In this drama Raghunandan's music is admired by stalwarts as well as young generation as the music compositions are based on tradional and modern type of music.
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3
| 3
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https://www.deccanherald.com/entertainment/marathi-stage-actor-prabhakar-panshikar-2386161
|
en
|
Marathi stage actor Prabhakar Panshikar passes away
|
[] |
[] |
[] |
[
"Marathi",
"Prabhakar Panshikar"
] | null |
[] |
2011-01-13T22:48:42+05:30
|
Eminent Marathi stage actor Prabhakar Panshikar died in a city hospital tonight following prolonged illness.He was 79.
|
en
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/icons/favicon.svg
|
Deccan Herald
|
https://www.deccanherald.com/entertainment/marathi-stage-actor-prabhakar-panshikar-2386161
|
Panshikar, who left an indelible mark on Marathi stage in a career spanning over five decades, immortalised the role of 'Lakhoba Lokhande', a conman portrayed in the landmark play 'To mee navech' (It is not me) by legendary P K Atre that held the audience spellbound with record breaking over 2,000 performances.
The other 40 plays which he brought alive with his memorable performances included 'Yeth Oshala Mrutyu', 'Ashrunchi Zali Phule', 'Thank you Mr Glad', and 'Bhatala dili Osri'.
Panshikar also founded 'Natyasampada', a drama company that produced a number of quality plays.
He was honoured with many awards for his exceptional acting talent, including 'Maharashtra Bhushan'.Maharashtra Chief Minister Prithviraj Chavan had recently announced financial assistance for treatment of Panshikar after his admission to hospital.
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0
| 23
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https://timesofindia.indiatimes.com/city/mumbai/city-lights/articleshow/7351336.cms
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en
|
Mumbai News - Times of India
|
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2011-01-24T08:52:00+05:30
|
Panshikar's theatre So fierce was passion of Prabhakar Panshikar-the renowned Marathi actor who died recently in Pune-for theatre that he left home to
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/city/mumbai/city-lights/articleshow/7351336.cms
|
This story is from January 24, 2011
City lights
Panshikar's theatre So fierce was passion of Prabhakar Panshikar-the renowned Marathi actor who died recently in Pune-for theatre that he left home to pursue his dream.
Panshikar's theatre
So fierce was passion of Prabhakar Panshikar—the renowned Marathi actor who died recently in Pune—for theatre that he left home to pursue his dream. A key role in Bhatala Dili Osari, a breezy Marathi comedy on Mumbai's space crunch by playwright-director M G Rangnekar, gave Panshikar his first sip of success. Apart from wearing the grease paint, the young actor also sharpened his business and managerial skills by taking charge of Rangnekar's production house, Natya Niketan.
Panshikar set up Natya Sampada, his own theatre group in 1962. His big-ticket venture, Toh Mee Navhech (That I Am Not), was a captivating tale, based on newspaper reports of a court case, of a rogue named Lakhoba Lokhande in the play, whose multiple marriages translated into a scandal in the 1950s.
With this sensational Acharya Atre hit, Panshikar—and Lakhoba Lokhande—became household names in Maharashtra. When Chhagan Bhujbal quit the Shiv Sena in 1991, Sena chief Bal Thackeray had named him the Lakhoba of Maharashtra politics.
Soon, Panshikar added to his repertoire, portraying a range of roles — an idealist professor in Ashrunchee Zaali Phule, a duty-conscious jailer in Thank You, Mr Glad and a wily Aurangzeb in Ithe Oshalala Mrittyu.
Every actor has his-her share of goof-ups. Panshikar recalls in his memoirs how in one of the shows of Ithe.... He, as Aurangzeb, pulled up his officials and, as an afterthought, gave them a ‘Get Out!' order. "Imagine a Mughal emperor speaking Angrezi! Good, I didn't say ‘I am sorry' to the audience," he later told our correspondent. RIP.
Cops on the run
It's not only when a criminal is in front. There are also times when certain senior people in the police force run for some very personal reasons, like for the Standard Chartered Mumbai Marathon. Among the passionate participants from the higher ranks of the uniformed force — which is often criticised for its general lack of fitness — was 47-year-old superintendent of police Sanjay Mohite for whom running is a way of "rediscovering" the simple joys of life. Mohite, who finished the Half Marathon, said his intention was "to complete rather than compete". The 47-year-old, who is principal at Police Training Centre in Marol, also encouraged everyone from his driver to around 30 police recruits, to join in his passion. After all, running "has given me confidence, mental strength and self-belief," says Mohite, who runs for about an hour, two to three times a week. It is not the speed but the philosophy of running, which teaches him to "tackle problems one at a time, and not sprint into them". In the last marathon, in fact, "a 1932-born man on a wheelchair was ahead of me", laughs Mohite, adding that running has altered his world view by helping him appreciate facts of life that are otherwise taken for granted. "After a 42-kilometre run, water tastes sweet and so does banana. Sitting under a tree, too, brings unusual pleasure," he concedes.
Age and its resulting conditions, of course, were hardly deterrents for these hardened men. Among the other cops were 53-year-old senior inspector Pradip Lonandkar and additional commissioner of police A B Dumbare, who is as old as the full marathon is long. Dumbare ran despite suffering from pancrealitis. And Lonandkar warned, "Don't just run after money." Or from thugs.
Masters tune in
Would the Splendor of Masters concert at the Nehru Centre on Saturday have gone ahead were it not for Michael Jackson? It seems like a strange question to ask about a recital featuring classical musicians such as Dutch harpist Gwyneth Wentink and flautist Pandit Hariprasad Chaurasia. But perhaps it's not such a stupid suggestion. "There are maybe only three or four harps in India," Wentink reveals. "The one I will be playing in Mumbai was brought here for a Michael Jackson concert 15 years ago and left behind. It was tucked away in storage until now." Being indebted to a pop star for a classical harp may actually have been fitting for this unique recital, which featured contributions from many genres. Wentink plays Western classical music, maestro Chaurasia traditional Indian music. Plus, they were accompanied by jazz pianist Louiz Banks, Gino Banks on drums and Vijay Ghate on the tabla.
You may wonder how these diverse genres can possibly meld together, but Chaurasia reassures that in music, difference is irrelevant. Dressed in white, with the calming aura of a patriarch and a boyish gleam in his eye, he explains, "With music we are all one — it's not Western or jazz or classical — music is music. What is music? What is it to be human? We all feel the same things."
Litpills
Literature Live, our very own Mumbai Litfest, held yet another interesting evening on what the stars can and can't foretell, held under the stars of the Indigo terrace. But here's an anecdote from the recently concluded APJ Kolkata Literary Festival. With no aid from celestial conjunctions, we can foretell that it wouldn't happen anywhere else.
In Kolkata, even the pavement bookstall owner is on daak-naam terms with every yellowing dog-eared volume in his possession. And every other clerk battles with his commuter bus and train, returns to his squalid suburb, and settles down to translate Brecht. So it was hardly surprising that the city's resident intellectuals stimulated and challenged every speaker at the litfest with a passion and knowledge seldom seen elsewhere.
As uniquely, when an eminent participant in a panel discussion fell off the edge of her crowded dais, a Bengali gentleman in the third row pulled out a vial of Arnica from his Paanjaabi pocket, walked up to hand it to the shaken lady, and said in a stage whisper, "Take three pills every three hours."
Head, heart and homeopathy make a hardy breed. Beats celebrity litfest audience's day. Jaipur, are you listening?
(Contributed by Ambarish Mishra, Sharmila Ganesan-Ram, Rachel Rickard Straus and Bachi Karkaria. Illustration by Mahesh Benkar. Compiled by Rucha Biju Chitrodia)
End of Article
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https://www.thehindu.com/entertainment/theatre/an-ode-to-marathi-theatre/article26267646.ece
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en
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An ode to Marathi theatre
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[
"Deepa Gahlot",
"Anant Panshikar"
] | null |
[
"Deepa Gahlot"
] |
2019-02-14T10:22:36+00:00
|
Anant Panshikar’s latest musical celebrates 175 years of Marathi theatre
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en
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https://www.thehindu.com/favicon.ico
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The Hindu
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https://www.thehindu.com/entertainment/theatre/an-ode-to-marathi-theatre/article26267646.ece
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To celebrate the 175th anniversary of Marathi theatre, producer Anant Panshikar has come up the musical, ‘Chi Sau Ka Rangbhumi,’ on the relationship between Rangbhumi (stage) and Rasik Raj (audience), narrating their life together, through a selection of songs and scenes from classic Marathi plays. As the nephew of the legendary Prabhakar Panshikar, Anant has seen the glorious days of Marathi theatre.
“It was in 1843 that the first sangeet natak, ‘Sita Swayamwar’ was staged, so our production covers a period from then to 1980. Nobody has attempted to do a retro project in a play format.”
The idea for the play took root, when Panshikar was commissioned to do a production of Vasant Kanetkar’s classic ‘Matsyagandha’ (the story of Satyavati from the Mahabharat ) . “I asked Sampada Joglekar Kulkarni, with her background in dance and theatre to direct this; also because I thought a play about such a fascinating woman from the Mahabharat should be directed by a woman, and she did prove herself. We wanted to promote youngsters, so we spread the word through social media for audition. We received over 150 videos on Whatsapp and the selections were done by eminent people. The cast, all aged between 20-30 , was so talented that the play turned out very well. The Goa Hindu Association that assigned me the play wanted only 25 shows. So we had to do another musical quickly to retain this wonderful bunch of actor-singers. I thought, Marathi sangeet natak has a fascinating history, why not do something with that?”
Sampada came up with the idea of the theatre-audience marriage, which she wrote, directed and acted in as Rangbhumi (in Marathi Rangbhumi is referred to in the feminine gender). After a lot of research, plays, songs, and scenes were shortlisted, which were incorporated into the lavish production. “We tried to incorporate as much as we could. There is so much material, that I can do another version of this play with different songs and scenes. Sangeet Natak is so popular, that even today, there are revivals of 100-year-old plays such as ‘Sangeet Saubhadra’, ‘Sanshay Kallol’ and ‘Ekach Pyala’.”
Anant’s parents were classical musicians, but it was his uncle who drew him to theatre. “When I was in the tenth standard, I joined Amrut Natya Bharti, at the Mumbai Marathi Sahitya Sangha — a two-year diploma course in theatre, introduced by Kamlakar Sontakke, who had returned from the National School of Drama with a gold medal. A popular venue for Marathi theatre, I learnt a lot there, and also saw a lot of plays, some of them several times. In every middle-class family, it is important to have a job, so I went to college and also got into inter-collegiate theatre. I directed and acted in quite a few plays, but soon realised that acting was not my forte.”
After spending years working in the advertising and corporate world, in 1996, Anant decided to quit his job and do something connected with theatre. “Luckily, a Marathi channel, Tara, was launched, headed by Rathikant Basu, and I produced a lot of classic plays for television, including some by Prabhakar Panshikar, which got me closer to him. Then, around 1999, I saw an interview with him on television, in which he said, he would close down his company Natyasampada, because there was nobody to run it after him. I told him, what if I took over? That’s how I got involved with Natyasampada.
“ I gave up everything to focus on theatre. Our first production together was a new Marathi sangeet natak , ‘ Avagha Rang Ekachi Zaala.’ It turned out to be a huge hit, because after ‘Katyar Kaljat Ghusli’ in 1967, for 40 years, there had been no new musical. It gave me a lot of confidence. My interest in prayogic (experimental) theatre, led to my production of ‘Waiting For Godot,’ in which for the first time Tom Alter acted in a Marathi play.”
Over the next few years, Anant produced some new plays and many revivals of the classics, like ‘Vichcha Majhi Puri Karaa’ by Vasant Sabnis, ‘Varyavarchi Varaat’ by Pu La Deshpande, ‘Lekure Udand Zaali’ by Vasant Kanetkar, ‘Lagnachi Bedi’ by P. K. (Acharya) Atre. “Prabhakar Panshikar was with me till his death in 2011; he had retired from the stage, but he toured with us. Now, of course, the company is called Natyasampada Kala Manch, because I want to work with the new generation. With every production, I introduce a new actor, director or playwright.”
Anant also invests his own money into his productions. He confesses that not all his plays have been hits. In fact, the failure of two consecutive productions — ‘Sangeet Jagne Vhave Gaane’ and ‘Begum Memory Athvan Gulam’ — landed him in soup. “I drew on my provident fund and gratuity till the next productions pulled me through. Every business has its ups and downs. But in any other business, a down can devastate a person; at least in theatre, the creative satisfaction is very high,” he says.
On his fondness for reviving old masterpieces he says, “When I took over Natyasampada, the great playwrights like Kanetkar and Atre were no more. I thought, let me revive their plays, so I can have the credit of doing plays by those doyens. All those plays were successful—in fact for Pula’s Varyavarchi Varaat, for 25 shows I did not even advertise the celebrity cast, people came for Pula; picking new plays is a challenge, however, since there is no formula for success. Nobody can predict what the audience will like and what will make money for the producer.”
One big hurdle that he sees is that Marathi theatre is losing a young audience. “The youngest viewer must be 40; I have been trying for many years, but the average age of the audience is just not coming down. That’s why I try to work with new people and fresh concepts — young people can make a major difference to the kind of plays we do.”
He is also content being a producer, the man who brings the right talent and the right project. “The producer is usually taken for granted and seldom gets enough credit, but I am happy to stay behind the scenes. When the audience appreciates a play, there is a kind of satisfaction, a ‘kick’ in that.”
The writer is a critic and columnist
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Laxmikant Berde was a renowned Indian actor who made significant contributions to the Marathi and Hindi film industries. He was born in Mumbai, Maharashtra, India. Berde started his career in the entertainment industry in the late 1970s and quickly rose to prominence due to his impeccable comic timing and versatile acting skills.
Laxmikant Berde gained widespread recognition for his work in Marathi theater and cinema. He became a household name with his exceptional performances in plays like "Shantata! Court Chalu Aahe" and "Maanapman." His ability to effortlessly switch between comedic and serious roles showcased his acting prowess and endeared him to audiences.
Berde's foray into Hindi cinema marked another milestone in his career. He became a sought-after actor in Bollywood, especially for his memorable supporting roles in numerous hit films during the 1990s. Some of his notable Hindi films include "Maine Pyar Kiya," "Hum Aapke Hain Koun..!" and "Saajan."
Known for his distinctive style and unique expressions, Laxmikant Berde carved a niche for himself in the industry. His collaboration with fellow actor Ashok Saraf in Marathi cinema was particularly cherished by audiences, and the duo became one of the most beloved comic pairs in the regional film industry.
Tragically, Laxmikant Berde's promising career was cut short when he passed away at the age of 50 on December 16, 2004, due to a kidney ailment. Despite his untimely demise, his contributions to Indian cinema, especially in Marathi and Hindi films, continue to be celebrated, and he is remembered as one of the finest actors in the industry.
Prabhakar Panshikar, a celebrated Marathi stage actor, left an indelible mark on the world of theater. Born in Bombay (now Mumbai), India, he hailed from the Karhade Brahmin community. His lineage included Sanskrit scholars, with his grandfather translating the authoritative Ayurvedic manual, Nighantu Ratnakar, into Marathi.
From a young age, Prabhakar was captivated by acting and the world of theater. During his school days, he not only watched famous plays but also actively participated in Ganesha Festival performances in Girgaon, Mumbai. His love for drama led him away from his family during his early teens.
In 1955, at the age of 25, Prabhakar embarked on his professional journey in Marathi theater with the play Ranicha Baag. Under the guidance of veteran Marathi drama director M. G. Rangnekar, he honed his skills and acted in plays like Kulwadhu, Bhumikanya Sita, Vahini, and Khadashtak. However, it was Rangnekar who offered him the breakthrough role in the play To Mi Navhech (translated as "I Am Not Him"). Prabhakar portrayed the character of Lakhoba Lokhande, which became immortal in Marathi theater history. To Mi Navhech gained immense popularity and was even translated into other Indian languages, including Gujarati and Kannada.
Prabhakar Panshikar founded Natyasampada, a Marathi drama production organization. Through this platform, he nurtured local artists and launched them in cities like Pune, Mumbai, Kolhapur, and Nagpur. Over his illustrious career, Prabhakar performed in more than 8,000 stage shows spanning 53 years. His commitment to the stage was unwavering, and he became a beacon for aspiring actors and theater enthusiasts.
Prabhakar hailed from the Panshi village in Pernem Taluka, Goa. His family roots were deeply connected to this region. His passion for theater and dedication to the craft left an indelible mark on Marathi cultural heritage. Prabhakar Panshikar's portrayal of Lakhoba Lokhande and his unwavering commitment to the stage continue to inspire generations of artists and theater enthusiasts. His legacy lives on as a beacon of creativity and excellence in Marathi theater .
Dilip Prabhavalkar is an esteemed Indian actor known for his versatile performances across film, television, and theater. Born in Mumbai, India, Prabhavalkar's journey in the entertainment industry spans over several decades, marked by his exceptional talent and dedication to his craft.
Prabhavalkar gained widespread recognition for his portrayal of Mahatma Gandhi in the acclaimed film "Lage Raho Munna Bhai" (2006), directed by Rajkumar Hirani. His nuanced and captivating portrayal of the iconic figure earned him immense praise from audiences and critics alike, solidifying his reputation as a seasoned actor with remarkable range.
Prior to his breakthrough role as Gandhi, Prabhavalkar had already established himself as a versatile performer in Marathi cinema, theater, and television. He has appeared in numerous Marathi films, delivering memorable performances in movies such as "Chaukat Raja" (1991), "Katha Doan Ganpatraonchi" (1996), and "Deool" (2011), among others.
In addition to his success in films, Prabhavalkar has made significant contributions to Marathi theater, both as an actor and a playwright. He has been associated with prestigious theater groups and has been instrumental in bringing compelling stories to life on stage.
Prabhavalkar's talent extends to television as well, where he has been a part of several successful shows, showcasing his versatility and acting prowess.
Throughout his illustrious career, Dilip Prabhavalkar has garnered numerous accolades, including awards and nominations for his outstanding performances. His ability to portray diverse characters with depth and authenticity has earned him a special place in the hearts of audiences across India.
Beyond his artistic achievements, Prabhavalkar is also known for his humility and commitment to social causes. He remains an inspiration to aspiring actors and continues to leave an indelible mark on Indian cinema and theater with his remarkable talent and unwavering dedication to his craft.
Shreeram Lagoo, a luminary in the world of Indian theater and cinema, left an indelible mark through his multifaceted career. Born in Satara, Maharashtra, India, Lagoo's journey was one of artistic exploration, intellectual depth, and unwavering commitment. Shreeram Lagoo's early years were steeped in academic pursuits. He earned his medical degree (MBBS) from the prestigious B. J. Medical College in Pune. His passion for the arts, however, soon led him to the stage, where he would find his true calling. Lagoo's tryst with Marathi theater began in the 1950s. His performances were marked by an intense emotional range, impeccable timing, and a deep understanding of human psychology. Whether portraying iconic characters like Iago in Othello, Sartre in Kamala, or the enigmatic Ghashiram Kotwal, Lagoo's presence on stage was electrifying. His association with the Maharashtra Cultural Center (popularly known as Sahitya Sangh) in Pune further solidified his status as a theater legend. Lagoo's directorial ventures, including plays like Natsamrat, Gidhade, and Ghar Tighancha Hava, resonated with audiences across generations. Lagoo seamlessly transitioned from theater to cinema. His nuanced performances in films like Pinjra, Sinhasan, and Gharonda showcased his versatility. Whether playing a compassionate doctor, a conflicted patriarch, or a revolutionary, Lagoo's authenticity shone through. Beyond the spotlight, Shreeram Lagoo was a man of strong convictions. His Marxist leanings and commitment to social justice were evident in his public life. He fearlessly voiced his opinions on political and social issues, earning both admiration and controversy. Shreeram Lagoo's legacy extends far beyond the footlights. His impact on Indian culture, theater, and cinema remains immeasurable. His passing on December 17, 2019, left a void, but his body of work continues to inspire artists, intellectuals, and dreamers alike. In the annals of creativity, Shreeram Lagoo's name stands tall-a beacon for those who seek truth, beauty, and the transformative power of art .
Vishwanath Patekar (born on January 1, 1951 in Murud-Janjira, Maharashtra, India) is an actor, writer and filmmaker. He is known for his work on Ab Tak Chhappan (2004), Raajneeti (2010) and Parinda (1989). He made his acting debut in the early 70's and since then has been nominated for multiple awards. He won a National Film Award and a Filmfare award for his supporting role in Parinda (1989). He then won the Best Villain award for his role on Angaar (1992). He is a very controversial actor, know for his different acting style, dialogues and dialogue delivery. He is sometimes regarded as the Morgan Freeman of Bollywood. In 1995, he won the National Film Award as well as the Filmfare and the Screen awards for Best Actor for his role in Krantiveer (1994). He is also the only actor ever to win Filmfare Awards in the Best Actor, Best Supporting Actor and Best Villain categories. He was bestowed the highest privilege in acting in 2013 when he was awarded the Padma Shri award for his dedication in the field of Films and Arts.
Patekar is an alumnus of the Sir J.J. Institute of Applied Art, Mumbai and in September 2015, He established an organization, Naam Foundation with fellow Marathi actor Makarand Anaspure, which works to provide aid to farmers to overcome by drought conditions in Maharashtra, India. When he was awarded the Raj Kapoor award which carries a cash prize of Rs 10,00,000, he donated the entire amount towards drought relief activities in Maharashtra. Patekar was married to Neelkantee Patekar and they have a son Malhar Patekar but their marriage life did not go well and it resulted in a divorce.
Vikram Gokhle (occasionally credited as Vikram Gokhle) is a well known Indian film, television and stage actor, notable for his roles in Marathi theatre and Hindi films and television.
He is the son of another well known veteran Marathi theater and film actor Chandrakant Gokhle, who acted in 68 Marathi and 16 Hindi films besides 64 Marathi plays over a span of 75 years.
Gokhle is now directing his debut directorial film titled Aaghaat. Produced by Sprint Arts Creation and executive producer Rajesh Damble, the film is based on a story written by Dr Nitin Lavangare. The cast of the film includes actors Mukta Barve and Dr Amol Kolhe and is shot in Pune. The film is getting released on 24 December 2010.
Vikram Gokhle has a long family lineage active in Indian film industry. His great grandmother Durgabai Kamat was the first female artiste of the Indian screen, while his grandmother Kamlabai Gokhle (Kamlabai Kamat at that time) was the first female child artiste of Indian cinema.
Way back in 1913, Durgabai acted as Parvati and Kamlabai as Mohini in a film by name Mohini Bhasmasur, produced and directed by Dadasaheb Phalke, the father of Indian cinema. His father Chandrakant Gokhle was a veteran Marathi film and stage artist and has acted in over 70 Marathi and Hindi films.
Mrs. Vrushali Gokhle, wife of Vikram Gokhle is a lady behind success of living legend. Her support to family has always been strength for the excellence of Vikram Gokhle.
Prashant Damle is a highly esteemed and versatile actor in the Indian entertainment industry, particularly renowned for his work in Marathi theatre, television, and film. Born in Mumbai, India, Damle has carved a niche for himself with his exceptional talent, dedication, and versatility.
Damle's journey in acting began during his college days when he actively participated in various theatre activities. His passion for the stage led him to pursue a career in acting, and he made his professional debut in Marathi theatre. He quickly gained recognition for his remarkable performances, displaying a remarkable range and depth in portraying diverse characters.
Over the years, Prashant Damle has become a household name in Maharashtra, known for his impeccable comic timing, as well as his ability to portray intense and emotional roles with equal finesse. He has worked with some of the most renowned theatre personalities and directors, further honing his craft and earning widespread acclaim.
In addition to his theatrical success, Damle has also made significant contributions to Marathi cinema and television. He has starred in numerous films and television shows, leaving an indelible mark with his memorable performances. His ability to connect with audiences across mediums has solidified his status as one of the most beloved actors in the Marathi entertainment industry.
Throughout his illustrious career, Prashant Damle has received several awards and accolades for his outstanding contributions to theatre and cinema. His dedication to his craft and his passion for storytelling continue to inspire aspiring actors and entertain audiences alike.
Beyond his professional accomplishments, Damle is also known for his humility, generosity, and commitment to social causes. He actively participates in various charitable initiatives and endeavors to use his platform to make a positive impact on society.
With his talent, charisma, and enduring popularity, Prashant Damle remains a stalwart figure in Marathi entertainment, continuing to enthrall audiences with his performances and leaving an indelible legacy in the world of Indian theatre and cinema.
Sachin Pilgaonkar often known by his first name Sachin, is an Indian film and television actor, director, singer and producer. Starting as a child in the Marathi film, Ha Majha Marg Ekla (1962), he went on to work in around 65 films as a child artist, before switching to adult roles, and being part of films like Geet Gaata Chal (1975), Balika Badhu (1976), Ankhiyon Ke Jharokhon Se (1978) and Nadiya Ke Paar (1982) as a lead actor, which were all successful. He has worked in Hindi, Marathi and also in Bhojpuri cinema, and has acted, produced and directed successful comedy shows on Indian television, including Tu Tu Main Main (2000) and Kadvee Khatti Meethi. He also directed several hit Marathi Films starting with Mai Baap (1982), Navri Mile Navryala (1984), Ashi Hi Banwa Banwi (1988), Amchyasarkhe Aamich (1990) and Navra Mazha Navsacha (2004).
Sachin Pilgaonkar was born in Mumbai in a Konkani family from Pilgaon, Goa. His father Sharad Pilgaonkar managed a printing business in Mumbai. His father was a film producer. He is married to actress Supriya Pilgaonkar (née Sabnis), whom he first directed for his debut Marathi film, Navri Mile Navryala (1984) and subsequently became successful pair in Marathi cinema. The couple have a daughter, Shriya Pilgaonkar.
Mahesh Kothare is an Indian actor, film director and producer of Marathi and Hindi films. He has worked in Indian cinema from a young age and acted in well-known movies such as Raja Aur Runk, Chhota Bhai, Mere Laal, and Ghar Ghar ki Kahani. The well known Hindi song Tu kitni achhi hai tu kitni bholi hai o maa from the film Raja Aur Runk features Kothare as Master Mahesh.
Considered a revolutionary figure in the Marathi film industry, he began his directorial career with the groundbreaking Dhumdhadaka (1985) and has since delivered many box office hits over a period of 20 years. Kothare's films are known for their technical nuances and fantasy concepts and he is one of the few Indian film makers who have made successful films in the fantasy genre.
Kothare made the first Marathi film in true 3D, Zapatlela 2, a box office hit which was released on 7 June 2013 and was the sequel to his 1993 box office blockbuster Zapatlela. In the original horror comedy a doll named Tatya Vinchu comes to life, while the sequel adds animatronics and state of the art CGI.
Shreyas Talpade, born in Mumbai, Maharashtra, India, is a versatile Indian actor known for his work in Bollywood and Marathi cinema. He has showcased his acting prowess across various genres, earning recognition for his comic timing, versatility, and impactful performances.
Shreyas Talpade began his career in the entertainment industry with Marathi theater and television. His talent and dedication to the craft caught the eye of filmmakers, leading to his debut in Bollywood with the critically acclaimed film "Iqbal" (2005). In the film, directed by Nagesh Kukunoor, Shreyas played the role of a deaf and mute aspiring cricketer, earning him widespread praise and establishing him as a promising talent in the industry.
Following the success of "Iqbal," Shreyas Talpade gained popularity for his roles in comedies like "Dor" (2006) and "Golmaal: Fun Unlimited" (2006). The latter marked his entry into mainstream Bollywood comedies, where his impeccable comic timing and affable screen presence endeared him to audiences.
Shreyas continued to excel in the comedy genre with films like "Apna Sapna Money Money" (2006), "Welcome to Sajjanpur" (2008), and "Golmaal Returns" (2008). His ability to seamlessly transition between comedic and dramatic roles became evident in films such as "Dor," where he showcased his versatility as an actor.
In addition to his Bollywood journey, Shreyas Talpade has been actively involved in Marathi cinema, both as an actor and producer. He has worked in Marathi films like "Sarivar Sari" (2005) and "Baji" (2015), earning accolades for his contributions to regional cinema.
Apart from his acting career, Shreyas has tried his hand at filmmaking, directing and producing the Marathi film "Poshter Boyz" (2014). His involvement in different aspects of the entertainment industry reflects his passion for storytelling and filmmaking.
Shreyas Talpade continues to be a prominent figure in the Indian film industry, contributing to both Bollywood and Marathi cinema.
Riteish Deshmukh is an Indian actor, producer and architect who appears in Bollywood films. He is the son of Late. Vilasrao Deshmukh, the former Union Minister for Science, Technology and Earth Sciences, Government of India, and the former Chief Minister of Maharashtra. Riteish debuted with K. Vijaya Bhaskar's Tujhe Meri Kasam (2003) with his later to be wife Genelia D'Souza, but it was not until 2004 that he achieved success, when he appeared in the commercially successful comedy, Masti and the critically acclaimed Bardaasht. His work in Masti was nominated for several awards, including the Filmfare Award for Best Supporting Actor category. He later starred in successful films such as Heyy Babyy, Dhamaal, House Full. Double Dhamaal, Tere Naal Love Ho Gaya and Housefull 2, Humshakals and Ek Villian.
In January 2013, Riteish made his debut as an film producer with the Marathi success Balak Palak, directed by Ravi Jadhav. The following year he made his acting debut in Marathi cinema with the action film Lai Bhaari.
Raja Paranjpe was a distinguished figure in the realm of Indian cinema, renowned for his multifaceted talents as an actor, director, producer, and playwright. Born in Mumbai, Maharashtra, India, he left an indelible mark on the Marathi film industry and beyond.
Paranjpe's journey into the world of entertainment commenced with his fervent involvement in the theatre. He exhibited remarkable prowess as a playwright, crafting stories that resonated with audiences across Maharashtra. His theatrical ventures not only showcased his innate creative flair but also laid a solid foundation for his future endeavors in cinema.
In the early 1950s, Raja Paranjpe ventured into the burgeoning Marathi film industry, where he quickly made a name for himself as a versatile actor. His ability to seamlessly portray a diverse array of characters earned him widespread acclaim and established him as a stalwart of Marathi cinema. Paranjpe's performances were marked by authenticity, depth, and a profound understanding of human emotions, captivating audiences with every role he undertook.
Over the years, Paranjpe's contributions to Indian cinema extended beyond acting. He ventured into film direction and production, demonstrating his keen insight into the craft of filmmaking. His directorial ventures were characterized by their poignant storytelling, compelling narratives, and meticulous attention to detail, further cementing his status as a luminary in the industry.
Throughout his illustrious career, Raja Paranjpe collaborated with some of the most esteemed figures in Marathi cinema, leaving an indelible imprint on the cinematic landscape. His body of work encompassed a diverse range of genres, from intense dramas to lighthearted comedies, each showcasing his unparalleled talent and versatility.
Beyond his artistic pursuits, Paranjpe was also recognized for his unwavering commitment to social causes. He used his influence and platform to advocate for various issues, striving to effect positive change in society.
Raja Paranjpe's legacy endures as a testament to his immeasurable contributions to Indian cinema and culture. His timeless performances continue to inspire generations of actors and filmmakers, ensuring that his influence remains palpable in the fabric of Marathi cinema. Though he may have departed from this world, his memory lives on through the cinematic masterpieces he created and the profound impact he left on the hearts and minds of audiences worldwide.
Krishna Kondke was a famous Marathi actor and a film producer. He is popularly known as Dada Kondke. He was born on 8th august in the year 1932 in Naigaum, near Lalbaug,Mumbai(Village-Ingavali,Tal Bhor,Pune). He was one of the most renowned personalities in the Marathi film industry. He is an actor,director,lyricist,producer and a writer. His was married to Nalini Kondke,but later they got divorced. He was born in a middle class family owning a grocery shop and also owners of chawls in Morbaug area of mumbai.
Kondke was a tough kid who later took up a job in a local grocery retail chain called Apna Bazaar. Unfortunately, at an early Kondke lost his family due to some unfortunate events. And then Kondke started his entertainment career with a band and then worked as a stage actor. Kondke was involved in several cultural activities of Seva Dal which was a congress party volunteers organization. And then during that period he also met some Marathi stage personalities including Vasant Sabnis who was a famous Marathi writer. Later, Kondke started his own theatre company, and approached Sabnis to compose a drama script for him. Kondke acted in a drama named Vichha Majhi Puri Kara. This drama went on to play over 1500 shows all over Maharashtra and made Kondke a star. Then he debuted in the year 1969 in the Marathi movies through a role in Bhalji Pendharkar's movie Tambdi Maati which won the National Film Award for Best Feature Film in Marathi. He then turned producer with the film Songadya in the year 1971. Some of his famous films are Tambdi Maati,Songadya,Ram Ram Gangaram,Bot Lavin Tithe Gudgudalya,Hyoch Navra Pahije,Tere Mere Beech Mein,etc., and his last movie Le Chal Apne Sang which is directed in hindi and this film is produced by Sunita Kondke.
Dada Kondke was entered in the Guinness Book of World Records for the highest number of films(nine) that achieved silver jubilee(running for 25 consecutive weeks). And he was also credited for introducing the genre of sex comedy to Marathi cinema and India cinema. He wrote some songs as a lyricist. Some are "Manasa paras medhara bari" and "Chalara Vaghya". On September 30,1997,Kondke suffered a heart attack at his residence Rama Niwas in Dadar,Mumbai. And then he was rushed to Shushrusha Nursing Home, and there after sometime he was declared dead. And at that time, Kondke was working on the film Jaraa Dheer Dhara with Usha Chavan
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Kalakeya Prabhakar's Personality Unveiled: MBTI, Enneagram and More
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What 16 personality type is Kalakeya Prabhakar from India? Find out Kalakeya Prabhakar's 16 type, Enneagram, and Zodiac sign in the Soulverse, the comprehensive personality database.
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/icon.png
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Boo
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https://boo.world/database/profile/256746/kalakeya-prabhakar-personality-type
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Kalakeya Prabhakar Bio
Kalakeya Prabhakar is an acclaimed Indian actor and a prominent figure in the Telugu film industry. Known for his powerful performances and captivating screen presence, he has established himself as one of the most versatile actors in the industry. Prabhakar garnered immense popularity and recognition for his portrayal of the menacing antagonist in the blockbuster film "Baahubali: The Beginning" (2015) and its sequel "Baahubali: The Conclusion" (2017). Born in India, Kalakeya Prabhakar hails from Andhra Pradesh. He made his acting debut in the Telugu film industry with the movie "Avanthi" in 2008. Though initially he played small roles, his unconventional looks and exceptional acting skills soon caught the attention of filmmakers and audiences alike. However, it was his role as the terrifying and ruthless tribal leader, Kalakeya, in the Baahubali series that catapulted him to nationwide fame. Prabhakar's portrayal of the antagonist Kalakeya in "Baahubali" was widely appreciated for his intense performance, physicality, and dialogue delivery. His portrayal of the fearsome warlord showcased his dedication and ability to immerse himself in challenging characters. Prabhakar's exceptional performance not only received critical acclaim but also earned him a massive fan following across the country. Apart from his notable performance in "Baahubali," Prabhakar has acted in several other Telugu films, showcasing his range as an actor. He has worked with some of the leading directors and actors in the Telugu film industry, further solidifying his position as a sought-after talent. With his distinctive looks and incredible acting prowess, Kalakeya Prabhakar continues to captivate audiences and establish himself as one of the most promising actors of his generation in the Indian film industry.
What 16 personality type is Kalakeya Prabhakar?
Based on the available information, it is challenging to accurately determine the specific MBTI personality type of Kalakeya Prabhakar or any individual without conducting a proper assessment. However, based on his portrayal in the movie "Baahubali: The Beginning," we can attempt to offer a speculative analysis. Kalakeya Prabhakar is depicted as a fierce and aggressive warrior, driven by a desire for power and dominance. He embodies characteristics that may align with the Extroverted Thinking (Te) function, as he appears highly goal-oriented and organized in leading his army. Additionally, his impulsive actions and lack of concern for the consequences may indicate a preference for the Perceiving (P) trait over Judging (J). This suggests that he is more spontaneous and adaptable, rather than adhering to strict rules or plans. Furthermore, Prabhakar's fierce and aggressive nature could potentially be correlated with a preference for the Introverted Feeling (Fi) or Extraverted Feeling (Fe) function. Fi types might exhibit strong internal values and individualistic behavior, adhering to their personal beliefs and perspectives. Fe types, on the other hand, may prioritize maintaining social harmony and ensuring others are taken care of. Conclusively, while it is speculative to assign a definitive MBTI type to Kalakeya Prabhakar based solely on his fictional depiction, he possibly exhibits traits that align with a Te dominant or auxiliary type, accompanied by either P or a preference for Fi/Fe. It's important to note that without more comprehensive information or a proper assessment, any attempt to assign a specific MBTI type remains conjecture at best.
Which Enneagram Type is Kalakeya Prabhakar?
Without personal knowledge or in-depth information about Kalakeya Prabhakar, it is challenging to determine his Enneagram type accurately. Furthermore, it is essential to note that the Enneagram is not a definitive or absolute tool, as individuals are complex and can exhibit traits from various Enneagram types. Nevertheless, based on general characteristics, if we were to speculate, here is one possible analysis: One potential Enneagram type that may manifest in Kalakeya Prabhakar's personality could be Type Eight, also known as "The Challenger". Type Eights are often assertive, strong-willed, and have a natural inclination towards leadership. They are typically self-confident and have a desire for control and power. Additionally, this type tends to be straightforward and value honesty and integrity. If Kalakeya Prabhakar possesses qualities such as assertiveness, a strong personality, and a natural leadership ability, it could align with the characteristics of an Eight. It is important to emphasize that this analysis is purely speculative, and to accurately determine someone's Enneagram type, it requires a comprehensive understanding of their beliefs, motivations, fears, and behaviors. Without this depth of knowledge, any conclusion would be questionable. In conclusion, without further information and analysis, it is difficult to definitively determine Kalakeya Prabhakar's Enneagram type. The Enneagram is a complex system that requires significant insight into an individual's psyche. Therefore, any suggestion made without adequate understanding would be mere conjecture.
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Herald: The Panditji I knew: Notes from his Goan disciple
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PANJIM, JAN 24
An ardent car lover and a person who had the impeccable quality to remember names and numbers for lifetime, Bharat Ratna Pandit Bhimsen Joshi had several facets to his life besides being India's greatest classical singer.
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25 Jan 2011 | 12:00am IST
The Panditji I knew: Notes from his Goan disciple
PANJIM, JAN 24 An ardent car lover and a person who had the impeccable quality to remember names and numbers for lifetime, Bharat Ratna Pandit Bhimsen Joshi had several facets to his life besides being India's greatest classical singer.
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नाट्यगंध: May 2014
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सम्यक कलांश प्रतिष्ठान अंतर्गत नाट्य विभाग म्हणजे
नाट्यगंध . सदर विभाग संस्थे अंतर्गत मराठी नाटक तसेच एकांकिकाच्या माध्यमातून रंगभूमीच्या नव -नव्या प्रयोगाचे नवे पैलू दाखविण्याचा तसेच लोकनाट्याचा बाज टिकवून ठेवण्याचा प्रयत्न हा नाट्यगंध ह्या मार्फत होणार आहे. या सर्व गोष्टी यशस्वी होण्यासाठी आपण सर्व रसिक श्रोत्यांचे तसेच कलाकारांचे सहकार्य व आशीर्वाद मोलाचे आहे .
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Mystica Music presents another gem in the series of Hidden Gems- inspiring hidden talents, Raghunandan Panshikar. Born into a lineage of Sanskrit scholars and classical musicians, as son of the eminent Marathi stage actor and producer Prabhakar Panshikar, Raghunandan Panshikar's aptitude for music was recognized and fostered from an early age. At 11, Raghunandan began his formal study of music in Mumbai under the tutelage of the late Pandit Vasantrao Kulkarni. Six years later, he commenced training with the doyen of the Jaipur-Atrauli gharana, Gaan Saraswati Smt. Kishori Amonkar. Over the next 17 years under Kishoriji's keen guidance, he worked painstakingly to imbibe her complex and unique musical style through rigorous daily riyaaz. During this time, Raghunandan was also fortunate to learn from Kishori-ji's mother & guru, the late Gaan Tapaswini Smt. Mogubai Kurdikar, who learned directly from the late Sangeet Samrat Ustad Alladiya Khan, founder of the Jaipur-Atrauli gharana. By training with both Mogubaiji and Kishoriji, Raghunandan achieved an authenticity in many aspects of the Jaipur-Atrauli style - a full throated akaar, dazzling taans, a sophisticated use of techniques such as meend and gamak, and a clever grasp of the intricacies of layakari. This album is a mesmerizing collection of Raga Yaman, Raga Rageshri and Hori by Raghunandan Panshikar.
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en
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/img/favicon.ico
|
https://www.mysticamusic.com/
|
Hidden Gems
Mystica Music presents another gem in the series of Hidden Gems- inspiring hidden talents, Raghunandan Panshikar. Born into a lineage of Sanskrit scholars and classical musicians, as son of the eminent Marathi stage actor and producer Prabhakar Panshikar, Raghunandan Panshikar's aptitude for music was recognized and fostered from an early age. At 11, Raghunandan began his formal study of music in Mumbai under the tutelage of the late Pandit Vasantrao Kulkarni. Six years later, he commenced training with the doyen of the Jaipur-Atrauli gharana, Gaan Saraswati Smt. Kishori Amonkar. Over the next 17 years under Kishoriji's keen guidance, he worked painstakingly to imbibe her complex and unique musical style through rigorous daily riyaaz. During this time, Raghunandan was also fortunate to learn from Kishori-ji's mother & guru, the late Gaan Tapaswini Smt. Mogubai Kurdikar, who learned directly from the late Sangeet Samrat Ustad Alladiya Khan, founder of the Jaipur-Atrauli gharana. By training with both Mogubaiji and Kishoriji, Raghunandan achieved an authenticity in many aspects of the Jaipur-Atrauli style - a full throated akaar, dazzling taans, a sophisticated use of techniques such as meend and gamak, and a clever grasp of the intricacies of layakari. This album is a mesmerizing collection of Raga Yaman, Raga Rageshri and Hori by Raghunandan Panshikar.
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8363
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| 61
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https://www.howtopronounce.com/prabhakar
|
en
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How to pronounce Prabhakar
|
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[
"Kristofer Wunsch",
"Hindustan Times",
"India West",
"Gulf News",
"timesofindia.indiatimes.com",
"Mid Day"
] |
2019-10-17T17:08:00
|
How to say Prabhakar in English? Pronunciation of Prabhakar with 4 audio pronunciations, 1 meaning, 4 translations, 14 sentences and more for Prabhakar.
|
en
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/apple-icon-57x57.png
|
https://www.howtopronounce.com/prabhakar
|
Wiki content for Prabhakar
Prabhakar - Prabhakar is an Indian given name and surname.
Prabhakar (Telugu actor) - Prabhakar is an Indian film actor, known for his role as Inkoshi, king of the Kalakeyas in Baahubali: The Beginning.
Prabhakar Misra - Prabhakar Misra is an American physicist, who researches and teaches at Howard University in Washington, D.C., and is currently a Professor in the Department of Physics and Astronomy.
Prabhakar Panshikar - Prabhakar Panshikar (Marathi: प्रभाकर पणशीकर) (14 March 1931 – 13 January 2011) also known as Pant was an actor on Marathi Stage.
Prabhakar Raghavan - Prabhakar Raghavan is a Senior Vice President of Engineering at Google. His research spans algorithms, web search and databases and he is the co-author of the textbooks Randomized Algorithms
{{wiki_api.name}} {{' - '+wiki_api.description}}
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https://www.hindustantimes.com/mumbai/veteran-theatre-actor-dies-after-prolonged-illness/story-i6i2qjn8gx1cp4oxzImscM.html
|
en
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Veteran theatre actor dies after prolonged illness
|
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[
"Prabhakar Panshikar",
"theatre actor",
"news",
"hindustantimes"
] | null |
[
"Satyajit Joshi"
] |
2011-01-14T01:18:46+05:30
|
Veteran theatre actor Prabhakar Panshikar, died late on Thursday evening at a private hospital following prolonged illness. He was 80. He is survived by his wife, two sons and a daughter. | Mumbai news
|
en
|
Hindustan Times
|
https://www.hindustantimes.com/mumbai/veteran-theatre-actor-dies-after-prolonged-illness/story-i6i2qjn8gx1cp4oxzImscM.html
|
Panshikar was admitted to a private hospital in Pune last week in a critical condition.
He was put on a ventilator for the last few days and doctors were planning to perform a angioplasty. However, he passed away at 9.15 pm on Thursday.
Panshikar’s association with Marathi theatre lasted for more than five decades, and he performed in more than 8,000 shows. Apart from Marathi theater, he also acted in Kannada and Gujrathi plays.
Panshikar’s theatre company, Natyasampada, produced more than 40 plays, most of which became household names in Maharashtrian families in the sixties.
However, Panshikar, is still remembered for his role — Lakhoba Lokhande – in `To Mee Navech’ a famous play written by Acharya Atre.
Panshikar played five different roles in ‘To Mee Navech’ and the play was staged for more than four decades, creating history in Marathi theatre. Panshikar is also credited for creating the world’s first portable revolving stage, which was used in ‘To Mee Navech’.
Born in Fanaswadi in March 1931, in a traditional Brahmin family, Panshikar began his career with veteran Marathi writer MG Rangnekar’s Natyaniketan but later formed a separate company — Natyasampada — along with Mohan Wagh.
Natyasampada’s first production `Asrunchi Zali Fule’, written by Vasant Kanetkar, was a huge success in 1963.
Natyasampada produced several hits like `Garambicha Bapu’, Veej Mhanali Dhartila’, `Vikat Ghetala Nyaya’, `Andhar Maza Sobati’, `Thank You Mr Glad’ amongst others.
His musical plays, ‘Katya Kaljat Ghusli’, ‘Madnachi Manjiri’, ‘Suvarnatula’ and ‘Honaji Bala’ rejuvenated musicals in Marathi theatre.
Panshikar was honoured with several awards and was known for his outspokenness. He was president of the Akhil Bharatiya Marathi Natya Sammelan.
|
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http://qtpthescript.blogspot.com/2010/06/dolly-thakores-life-in-theatre.html
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en
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QTP The Script: Dolly Thakore's 'Life in the Theatre'
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CENSORSHIP IN INDIAN THEATRE THE YEAR WAS 1966-67. I was in London and working for the BBC when I was called for an audition for A TOUCH OF...
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https://mysticamusic.com/artists/raghunandan-panshikar-indian-classical-singer
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Mysticamusic
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Mystica Music, a music company with a vision to promote the latent talent inherent in our rich cultural milieu and preserving the rich works of the legendary artists.
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https://www.mysticamusic.com/
|
Raghunandan Panshikar
Born into a lineage of Sanskrit scholars and classical musicians and as the son of the eminent Marathi stage actor and producer Prabhakar Panshikar, Raghunandan Panshikar's aptitude for music was recognized and fostered from an early age. At 11, Raghunandan began his formal study of music in Mumbai under the tutelage of the late Pandit Vasantrao Kulkarni. Six years later, he commenced training with the doyen of the Jaipur-Atrauli gharana, Gaan Saraswati Smt. Kishori Amonkar. Over the next 17 years under Kishori-ji's keen guidance he worked painstakingly to imbibe her complex and unique musical style through rigorous daily riyaaz. During this time, Raghunandan was also fortunate to learn from Kishori-ji's mother & guru, the late Gaan Tapaswini Smt. Mogubai Kurdikar, who learned directly from the the late Sangeet Samrat Ustad Alladiya Khan, founder of the Jaipur-Atrauli gharana. By training with both Mogubai-ji and Kishori-ji, Raghunandan achieved an authenticity in many aspects of the Jaipur-Atrauli style - a full throated akaar, dazzling taans, a sophisticated use of techniques such as meend and gamak, and a clever grasp of the intricacies of layakari. In addition to mastery of the presentation of classical raags, Raghunandan's command of semi-classical genres (thumri, ghazal, bhajan, abhang, etc.) accounts for his versatility & singularity among Hindustani vocalists. Training with Kishori-ji in these various styles, Raghunandan developed an innate, emotive vocal quality and honed his Hindi/Urdu, Marathi, and Sanskrit diction. Raghunandan's presentation of ghazal compositions by masters like Ghulam Ali, Mehdi Hassan, Jagjit Singh, and Kishori-ji have enthralled music aficionados throughout India. Raghunandan has recorded many classical albums under reputed record labels such as HMV (Mumbai) and Alurkar Music House (Pune). His commercially available raags are Bhoop Nat, Niranjani Todi, a Pahadi Thumri, Bhoop, Sampoorna Malkauns, Pooriya Dhanashree, Anand Malhar, Nayaki Kanhada, Bilaskhani Todi, Shuddha Sarang, Hansadhwani, Mishra Kafi, and Basant Bahaar. Raghunandan's magical classical and semi-classical music performances have charmed audiences throughout India, in the states of Maharashtra, Karnataka, Goa, Delhi, Madhya Pradesh, Uttar Pradesh, Punjab, Bengal, and Kerala. Very early in his musical career, he has already been conferred with numerous awards, such as the 'Dattopant Deshpande Puraskar' (1992, Pune), the 'Sangeet Kala Ratna Puraskar' (2000, Patna), and the 'Manik Verma Puraskar' (2005, Pune). Raghunandan made his mark in playback singing also when he sang for the Hindi art-film by Govind Nihalani, 'Drishti', whose music was composed by Kishori-ji.
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https://countercurrents.org/2023/12/sudha-bharadwajs-book-and-the-drama-on-a-revolutionary-on-death-row/
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Sudha Bharadwaj’s book and the drama on a revolutionary on death row
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2023-12-10T17:36:04+05:30
|
The reading by Ratna Pathak Shah last evening from Sudha Bharadwaj’s book about days in the death row in jail, reminded me of a thrilling Marathi play
|
en
|
Countercurrents
|
https://countercurrents.org/2023/12/sudha-bharadwajs-book-and-the-drama-on-a-revolutionary-on-death-row/
|
The reading by Ratna Pathak Shah last evening from Sudha Bharadwaj’s book about days in the death row in jail, reminded me of a thrilling Marathi play Thank You Mr Glaad about a Naxalite revolutionary. The movement has taken little note of the play written by Anil Barve.It was also a big popular hit and was produced by Prabhakar Panshikar, a very popular actor and producer, in the 1970s.
Sudha, the lawyer and activist, spent three years and three months in jail following her arrest under the Unlawful Activities (Prevention) Act on August 28, 2018. Her book From Phansi Yard is about her days in Pune’s Yerawada Jail.
Barve was a brilliant playwright, novelist, journalist, fired by idealism who in today’s terms could be called an organic intellectual. His play is about Dr Birbhushan Patnaik, a doctor turned Naxalite, his unflinching commitment. He is pitted against a harsh Anglo Indian jailor Glaad whose wife had died in a concentration camp in Germany. Hours before his hanging he performs a successful ceasarian operation on Gladd’s daughter when no other medical help is available on the rainy night.
Some thought it was melodramatic, but it was certainly powerful and is still performed in other languages. Look at the multiple strands woven into the theme from fascism, revolution to humanism and so on.
Barve’s memory was also revived last week in a touching tribute by his very talented dancer choreographer daughter Phulwa Khamkar on his death anniversary. He died 39 years ago when she was barely nine year old and he 36. Liquor consumed this wonderful, pleasant, talented . man. And so prolific and talented. There was a large, warm response on facebok to her heartfelt remembrance. His premature death was a big blow to her young mind and she had for some time stopped thinking about him but today as she looks back, she realises what an important man he was. Talented film maker Rahi Barve is her brother. Her mother Prerana is the daughter of the famed Amar Shaikh, who roused thousands with his stirring revolutionary folk songs.
Coming back to trade unionist Bharadwaj, she has seen police heavy-handedness up close, but she did “not envisage the kind of thing” that happened to her as a suspect in the Bhima Koregaon case.
She wrote in her book – Some prisoners pray, some weep, some just put down their heads and work themselves weary. Sudha Bharadwaj watched through the bars of her cell, and she wrote. This is her remarkably granular account of the world of women prisoners in Yerawada Jail in Pune.Bharadwaj was incarcerated here, in a high-security wing called PhansiYard, from November 2018 to February 2020. She takes us through jail life, her own and the other women’s, from one season to the next, weaving in lively portraits of her fellow prisoners, their children and even their pets, and reflecting on everything from absurd rules, caste hierarchies, food, fistfights and friendships to the dismal absence of legal aid for the most defenceless of women.
While Bharadwaj is an unflinching observer of the harshness of prison life, this is not a bleak book. It is written with warmth, compassion and impish humour. It is Bharadwaj’s tribute to the women around her who showed her ‘every single day ‘, she says, ‘how to survive injustice, how to remain hopeful . . . how to continue to live, love, fight and laugh, even behind bars, as an observer put it.
The reading from he book last evening was followed by a talk by journalist Sukanya Shantha based on her expeience of covering of court proceedings in the trials of political prisoners, followed by senior journalist Freny Maneshaw’s conversation with Sudha. The programme oganised by PUCL, People’s Union for Civil Liberties, was ably compered by Geeta Seshu, journalist and feminist, media analyst. Her partner M.J. Pandey,my former colleague in TOI, needs to be more visible and heard considering the work he has done for the cause of journalists and few have such ideological grasp.
As for Barve I have another reason to remember him. He edited a lively weekly Ranangan in which P.V. Ranade, my history scholar maternal uncle, wrote an article on Shivaji in 1974, the 300th year f the coronation of Shivaji. It was respectful and analytical but it created quite a poliial storm in Maharashtra and he lost his job as a history lecturer in Marathwada university, now named after Dr Ambedkar. It is a landmark case of the persecution of an intellectual.
Barve was jailed for more than a year for suspected Naxalite activities He was a very active, committed journalist and wrote on the Chasnala mining disaster based on his visit there. It is necessary to remember writers like Barve, especially as the Marathi natya sammelan in its 100th year is being held in several centres with a substantial grant of Rs nine core from the Mahaashtra government. It must be used wisely, publishing some meaningful writing on Marathi as well as Indian theatre. Ostentatious expenses on pandals and VIP culure must be curbed. With Dr Jabbar Patel as the president of the 100th sammelan , truly serious and meaningful approach to various issues would be in order.
|
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3
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|
https://marathimovieworld.com/news/maharashtra-bhushan-prabhakar-panshikar-passes-away.php
|
en
|
Maharashtra Bhushan – Prabhakar Panshikar passes away
|
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2011-01-13T08:46:22+00:00
|
Prabhakar Panshikar was 80 years old. Mr . Panshikar , who began his acting career in Mumbai and shot into limelight through a lead role of Lakhoba Lokhande
|
en
|
/apple-touch-icon.png
|
https://marathimovieworld.com/news/maharashtra-bhushan-prabhakar-panshikar-passes-away.php
|
Well-known Stage actor and Maharashtra Bhushan- Prabhakar Panshikar passed away in a Pune Hospital today. He was 80 years old. Mr. Panshikar , who began his acting career in Mumbai and shot into limelight through a lead role of Lakhoba Lokhande played by him in M.G Rangnekar’s sensational play ‘To Mee Navehch’ written by Acharya Atre. So effective was his performance that the play went on to create a record of stage shows those days. It was for the first time in Marathi dramas , a revolving stage was used for the presentation of this play.
Besides ‘To Mee Navehch’ he also performed in some of the popular plays like ‘Asrunchi Jhali Phule’, ‘Ithe Oshalala Mrityu’,’Bhatala Dilee Osari’, ‘Ithe Gavtat Bhale Phuttat’, ‘Thank you Mr. Glad’. He had also formed his own drama company ‘Natyasampada’ which produced many plays like ‘Katyar Kaljaat Ghusli’ ‘Andhaar Majha Sobti’ besides some music based plays. In all, he had appeared in 8001 shows on stage, which showed his dedication to stage. His autobiography ‘Toch Mee’ was well received among his well wishers.
Mr. Prabhakar Panshikar was blessed with a grand persona and a rich voice. He was conferred with many prestigious awards, including the Maharashtra Gaurav Puraskar, the Sangeet Natak Academy award and the Maharashtra Bhushan award for his contribution to the theatre. Marathi Movie world pays sincere tributes to his departed soul.
|
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8363
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0
| 15
|
https://map.sahapedia.org/article/Raghunandan-Panshikar/2898
|
en
|
Raghunandan Panshikar
|
[] |
[] |
[] |
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Sahapedia2.0
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|
/search/Sahapedia_Landing.jpg
|
https://map.sahapedia.org/article/Raghunandan-Panshikar/2898
| ||||||
8363
|
dbpedia
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2
| 6
|
https://www.hindustantimes.com/mumbai/veteran-theatre-actor-dies-after-prolonged-illness/story-i6i2qjn8gx1cp4oxzImscM.html
|
en
|
Veteran theatre actor dies after prolonged illness
|
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2011-01-14T01:18:46+05:30
|
Veteran theatre actor Prabhakar Panshikar, died late on Thursday evening at a private hospital following prolonged illness. He was 80. He is survived by his wife, two sons and a daughter. | Mumbai news
|
en
|
Hindustan Times
|
https://www.hindustantimes.com/mumbai/veteran-theatre-actor-dies-after-prolonged-illness/story-i6i2qjn8gx1cp4oxzImscM.html
|
Panshikar was admitted to a private hospital in Pune last week in a critical condition.
He was put on a ventilator for the last few days and doctors were planning to perform a angioplasty. However, he passed away at 9.15 pm on Thursday.
Panshikar’s association with Marathi theatre lasted for more than five decades, and he performed in more than 8,000 shows. Apart from Marathi theater, he also acted in Kannada and Gujrathi plays.
Panshikar’s theatre company, Natyasampada, produced more than 40 plays, most of which became household names in Maharashtrian families in the sixties.
However, Panshikar, is still remembered for his role — Lakhoba Lokhande – in `To Mee Navech’ a famous play written by Acharya Atre.
Panshikar played five different roles in ‘To Mee Navech’ and the play was staged for more than four decades, creating history in Marathi theatre. Panshikar is also credited for creating the world’s first portable revolving stage, which was used in ‘To Mee Navech’.
Born in Fanaswadi in March 1931, in a traditional Brahmin family, Panshikar began his career with veteran Marathi writer MG Rangnekar’s Natyaniketan but later formed a separate company — Natyasampada — along with Mohan Wagh.
Natyasampada’s first production `Asrunchi Zali Fule’, written by Vasant Kanetkar, was a huge success in 1963.
Natyasampada produced several hits like `Garambicha Bapu’, Veej Mhanali Dhartila’, `Vikat Ghetala Nyaya’, `Andhar Maza Sobati’, `Thank You Mr Glad’ amongst others.
His musical plays, ‘Katya Kaljat Ghusli’, ‘Madnachi Manjiri’, ‘Suvarnatula’ and ‘Honaji Bala’ rejuvenated musicals in Marathi theatre.
Panshikar was honoured with several awards and was known for his outspokenness. He was president of the Akhil Bharatiya Marathi Natya Sammelan.
|
|||||
8363
|
dbpedia
|
1
| 59
|
https://naadrangdc.com/events/pt-raghunandan-panshikar-vocal-recital-nov-4-2023
|
en
|
Pt. Raghunandan Panshikar Vocal Recital
|
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2024-08-15T18:31:42.800843+00:00
|
Based in South Riding, NaadRang DC is a non-profit Indian Music Organization organizing multiple Indian classical music concerts during the year.
|
NaadRang DC
|
https://naadrangdc.com/events/pt-raghunandan-panshikar-vocal-recital-nov-4-2023
|
A Hindustani Vocal Concert featuring Pt. Raghunandan Panshikar
Tabla: Shri Bharat Kamat
Harmonium: Shri Ameya Bichu
Date: November 4, 2023, 8:00 AM at India International School
$30.00 per ticket
Tickets: https://naadrangdc.com/products/membership-event-tickets/a-morning-concert-ft-pt-raghunandan-panshikar-52764980
About the artists
Pt. Raghunandan Panshikar
Born into a lineage of Sanskrit scholars and classical musicians and as the son of the eminent Marathi stage actor and producer Prabhakar Panshikar, Raghunandan Panshikar's aptitude for music was recognized and fostered from an early age. At the age of 11, Raghunandan began his formal study of music in Mumbai under the tutelage of the late Pandit Vasantrao Kulkarni. Six years later, he commenced training with the doyen of the Jaipur-Atrauli gharana, Gaan Saraswati Smt. Kishori Amonkar. Over the next 20 years up to the year 2000, under Kishori-ji's keen guidance, he worked painstakingly to imbibe her complex and unique musical style through rigorous daily riyaaz. During this time, Raghunandan was also fortunate to learn from Kishori-ji'smother and guru, the late Gaan Tapaswini Smt. Mogubai Kurdikar, who had learned directly from the the late Sangeet Samrat Ustad Alladiya Khan, founder of the Jaipur-Atrauli gharana. By training with both Mogubai-ji and Kishori-ji, Raghunandan achieved an authenticity in many aspects of the Jaipur-Atrauli style - a full throated akaar, dazzling taans, a sophisticated use of techniques such as meend and gamak, and a clever grasp of the intricacies of layakari.
Shri Bharat Kamat
Bharat Kamat is one of India’s leading tabla artists who has been well received not only by discerning audiences but also by the lay listener. At the tender age of five, Bharat started learning tabla from his father Pt.Chandrakant Kamat who himself has been a devoted disciple of Pt.Samata Prasad of the Benaras gharana. Bharat’s grandfather Pt. Shantatram Kamat was also a renowned stage-music artist and has several 78 rpm records to his credit.Bharat has thus inherited the ‘sur’ and ‘lai’ from his paternal side. This inheritance of the ‘sur’ has helped Bharat to have a very sharp ear for music which is an important musical requirement, especially for accompaniment, and this is clearly reflected in all his performances.
Shri Ameya Bichu
Ameya was initiated into the world of Harmonium by his guru Shri Tanmay Deochake from Pune. Ameya has also been fortunate to get guidance from Taalayogi Pt. Suresh Talwalkar and Vidushi Padma Talwalkar. Ameya has accompanied several senior artists in India and internationally.
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Prasad Oak
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] |
[] |
[] |
[
""
] | null |
[] | null |
Watch more of your favorite Prasad Oak movies and TV shows on Plex.
|
en
|
/icons/favicon.ico
| null | ||||||
8363
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dbpedia
|
2
| 46
|
https://mysticamusic.com/releases/hidden-gems-raghunandan-panshikar
|
en
|
Mysticamusic
|
[
"https://mysticamusic.com/img/mystica_logo.png",
"https://assets.mysticamusic.com/images/releases/large/hidden-gems-raghunandanpanshikar.jpg",
"https://mysticamusic.com/img/add-to-cart.png",
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"https://assets.mysticamusic.com/images/releases/medium/satkirti.jpg",
"https://assets.mysticamusic.com/images/releases/medium/gobind-naam.jpg"
] |
[] |
[] |
[
""
] | null |
[
"Indian Classical"
] | null |
Mystica Music presents another gem in the series of Hidden Gems- inspiring hidden talents, Raghunandan Panshikar. Born into a lineage of Sanskrit scholars and classical musicians, as son of the eminent Marathi stage actor and producer Prabhakar Panshikar, Raghunandan Panshikar's aptitude for music was recognized and fostered from an early age. At 11, Raghunandan began his formal study of music in Mumbai under the tutelage of the late Pandit Vasantrao Kulkarni. Six years later, he commenced training with the doyen of the Jaipur-Atrauli gharana, Gaan Saraswati Smt. Kishori Amonkar. Over the next 17 years under Kishoriji's keen guidance, he worked painstakingly to imbibe her complex and unique musical style through rigorous daily riyaaz. During this time, Raghunandan was also fortunate to learn from Kishori-ji's mother & guru, the late Gaan Tapaswini Smt. Mogubai Kurdikar, who learned directly from the late Sangeet Samrat Ustad Alladiya Khan, founder of the Jaipur-Atrauli gharana. By training with both Mogubaiji and Kishoriji, Raghunandan achieved an authenticity in many aspects of the Jaipur-Atrauli style - a full throated akaar, dazzling taans, a sophisticated use of techniques such as meend and gamak, and a clever grasp of the intricacies of layakari. This album is a mesmerizing collection of Raga Yaman, Raga Rageshri and Hori by Raghunandan Panshikar.
|
en
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/img/favicon.ico
|
https://www.mysticamusic.com/
|
Hidden Gems
Mystica Music presents another gem in the series of Hidden Gems- inspiring hidden talents, Raghunandan Panshikar. Born into a lineage of Sanskrit scholars and classical musicians, as son of the eminent Marathi stage actor and producer Prabhakar Panshikar, Raghunandan Panshikar's aptitude for music was recognized and fostered from an early age. At 11, Raghunandan began his formal study of music in Mumbai under the tutelage of the late Pandit Vasantrao Kulkarni. Six years later, he commenced training with the doyen of the Jaipur-Atrauli gharana, Gaan Saraswati Smt. Kishori Amonkar. Over the next 17 years under Kishoriji's keen guidance, he worked painstakingly to imbibe her complex and unique musical style through rigorous daily riyaaz. During this time, Raghunandan was also fortunate to learn from Kishori-ji's mother & guru, the late Gaan Tapaswini Smt. Mogubai Kurdikar, who learned directly from the late Sangeet Samrat Ustad Alladiya Khan, founder of the Jaipur-Atrauli gharana. By training with both Mogubaiji and Kishoriji, Raghunandan achieved an authenticity in many aspects of the Jaipur-Atrauli style - a full throated akaar, dazzling taans, a sophisticated use of techniques such as meend and gamak, and a clever grasp of the intricacies of layakari. This album is a mesmerizing collection of Raga Yaman, Raga Rageshri and Hori by Raghunandan Panshikar.
|
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8363
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dbpedia
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1
| 13
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https://books.google.com/books/about/Prabhakar_Panshikar.html%3Fid%3DRShHYgEACAAJ
|
en
|
Google Books
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
https://books.google.com/
|
Search the world's most comprehensive index of full-text books.
My library
|
||||||||
8363
|
dbpedia
|
2
| 11
|
https://www.themoviedb.org/person/4265509-prabhakar-panshikar
|
en
|
Prabhakar Panshikar
|
[
"https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg",
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[] |
[] |
[
"Movies",
"TV Shows",
"Streaming",
"Reviews",
"API",
"Actors",
"Actresses",
"Photos",
"User Ratings",
"Synopsis",
"Trailers",
"Teasers",
"Credits",
"Cast"
] | null |
[] | null |
Prabhakar Panshikar is known as an Actor. Some of their work includes Janmathep und Jhep.
|
de
|
/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png
|
The Movie Database
|
https://www.themoviedb.org/person/4265509-prabhakar-panshikar
|
You need to be logged in to continue. Click here to login or here to sign up.
|
||||
8363
|
dbpedia
|
1
| 44
|
https://groups.google.com/g/soc.culture.tamil/c/76WTeesge1A
|
en
|
to mee navhech: Sid Harth
|
[
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"https://lh3.googleusercontent.com/a/default-user=s40-c"
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[] |
[] |
[
""
] | null |
[] | null |
en
|
//www.gstatic.com/images/branding/product/1x/groups_32dp.png
|
https://groups.google.com/g/soc.culture.tamil/c/76WTeesge1A
|
To Mee Navhech
From Wikipedia, the free encyclopedia
Directed by Vinayak Chaskar
Produced by Pradeep Dalvi
Written by Acharya Atre http://en.wikipedia.org/wiki/Prahlad_Keshav_Atre
Starring Prabhakar Panshikar http://en.wikipedia.org/wiki/Prabhakar_Panshikar
Release date(s) 1962
Country India
Language Marathi
To Mee Navhech (Translated as: That's not me, Devnagari: तो मी नव्हेच)
is a classic Marathi Play written by Acharya Atre. Though the
protagonist role has been played by many actors since its inception in
1962, the role played by Prabhakar Panshikar is the most memorable. To
Mee Navech is probably the first play in the world where the same
actor has to do five completely different roles, not to merely add to
novelty value or as a stunt, but because the story demands it[1]. To
Mee Navhech was also among the first Marathi plays to make use of the
Revolving Stage between two scenes.
Background
A conman Lakhoba Lokhande is being prosecuted in the court of law for
allegedly duping people, marrying women for money and essentially
living multiple lives. He tries to defend his own self by asking
uncomfortable questions to each witness during the cross-questioning.
The entire play is set in a courtroom scene with a revolving set used
for cut scenes and flashbacks.
Storyline
The storyline focuses on a con Lakhoba Lokhande, who claims he is a
tobacco merchant from Nipani. The drama starts with a courtroom scene
in which Lakhoba Lokhande is sitting in the defendant box. He has been
accused by the prosecution of swindling different persons through
disguise and fraud. The prosecution lawyer presents many witnesses,
most of whom are the victims of Lakhoba's embezzlement (and in some
cases torture). The witnesses narrate their experiences with the
defendant through flashbacks. Lakhoba runs his own case after firing
his lawyer. He cross questions the witnesses and during the process
pleads his innocence by saying "To Mee Navhech".
Characters played by Prabhakar Panshikar in the play
Character Picture
Lakhoba Lokhande: A tobacco merchant from Nipani
Divakar Datar: A secret political officer of the Kingdom of Mysore
Dajishastri Datar: Elder brother of Divakar Datar
Captain Ashok Paranjpe: A Navy officer and younger brother of Divakar
Datar
Radheshyam Maharaj: A saint
Tone of Narrative
The general tone of the narrative of "To Mee Navhech" is rather
sarcastic.
References
PRABHAKAR - A SUN IS BORN
14th March 1931. A Son was born in the Panshikar Family in Mumbai.
Originally hailing from Pedne, Goa, the Panshikar family was steeped
in tradional learning of subjects like Sanskrit, VedaShastras and
Astrology. The grandfather of the child (to be named Prabhakar), was
pandit Vasudev Shastri Panshikar, the Chief Editor of the famed
Sanskrit publishing house ''Nirnaya Sagar Press''. He has to his
credit the monumental achievement of having researched, edited and
published in the finest and purest Sanskrit some 300 texts. These
texts occupy the pride of place in every Sanskrit reference library of
the world. The father of the child, Pandit Vishnu Shastri Panshikar
was also a renowned Vedic scholar, who specialised in Astrology and
edited, ''Jyotir Mayukh'', a tretise on the subject.
Despite inheriting this legacy of traditional learning, Prabhakar
discovered early in life that he was cut out for different things. At
the age of 15 (1945-46), on an impulse, he acted in a play for the
Annual Gathering of his School. The appreciation that he evoked for
that role however, drew him closer to the stage than he had imagined.
This growing involvement gradually led to a consuming passion for
acting, which finally resulted in his dropping out of school in his
matriculate year (1949). Meanwhile, he had acted in numerous plays
staged by various schools and social institutions. He was now
seriously studying the fifth 'Veda', the 'Natya Veda'. In 1950, he got
his first break as an apprentice to the great Film Director, Shri
Vishram Bedekar, for the production called 'Vasudeo Balwant'.
Unfortunately, this opportunity and whatever other bits of work came
his way, did not translate into financial stability. On a spirited
impulse, he left home and for almost six years, practically lived on
the streets. He struggled on (with a little help from friends here and
there) with scant regard for basic needs and comforts, for finally
only one thing mattered Theatre
In 1952, Panshikar got an opportunity to direct a play in the local
Ganeshostav festival. The Success of this play sparked off an upswing
in his carrier, or perhaps it was the outcome of all those years spent
in struggle, but he began receivin directorial assignments from
various Social institutions and even Corporate theatre groups. In the
Centenary year of the Western Railway, Panshikar directed a Marathi
play 'Amaldar' and Hindi Play 'Naya Zamana' for the Railways. He
directed plays based on a wide range of subjects for Mazagaon Docks,
Bombay Port trust, the National College and several other respected
organisations. He presented solo acts of soliloquies from Shakespeare.
He recorded for many plays on the Radio and got an opportunity to act
in plays for Indian National Theatre. All these activities however
were very low paying and Panshikar could barely keep body and soul
together on his meagre earnings. True to self, rather than crib about
his financial state, he was thrilled, happy and convinced that his
life was on the right course.
Towards the end of this trial, in 1956-57, Panshikar began doing bit
roles in the commercial shows of popular plays like 'Kulwadhu', 'Maze
Ghar', 'Vahini', which were produced by a leading Marathi Theatre
Company called 'Natya Niketan'. Finally, in August 1956, he got a
substantial role in a Farce 'Bhatala Dili Osari'. This was his first
fresh role meaning one that he was the first to enact and he played a
new-age poet in it. This role proved to be a milestone in his career
and he finally received due praise and recognition as an actor on
Commercial Marathi Stage.
SUNRISE AT LAST...
Shortly thereafter, Panshikar was appointed as the Manager of 'Natya
Niketan'. Since he was an actor first, he could and therefore had to
stand in during 'emergencies' for other actors. This is how he
polished and groomed himself as a versatile actor one capable of
playing the lead, the villain, roles of Old, young, crippled, funny
men, the entire range. This is where he cut his teeth on the art of
Production. This is where he studied and mastered all theatre
production.
This relentless struggle of fifteen years was finally rewarded in
1962, when Panshikar got the lead role in a new play called 'To Mee
Navech', There is an old adage ''There comes a tide in the life of
every man, which, taken at the ebb, leads him to his fortune. '' It
was an opportunity of a littletime and Panshikar was poised and
waiting for it. The play went on to earn tremendous acclaim for the
next four decades and continues to draw crowds even today.
Panshikar's brilliant touch turned his role to gold. 'To Mee Navech'
is probably the first play in the world where the same actor has to do
five completely different roles, not to merely add to novelty value or
as a stunt, but because the story demands it. The ceaseless journey of
the play from 1962 to 2003 has been one long story of absolutely
selfless devotion to theatre and incredible consistence in
performances all 2800 shows.
Panshikar was 31 when the play was launched. Today he is 72, going
strong an little things like a bypass heart surgery or advancing age
do not deter him one bit. The incredible energy and enthusiasm that he
has for anything and everything connected with theatre is enough to
put anyone half his age to shame.
The inaugural show of 'To Mee Navech' was held in New Delhi, on Vijaya
Dashami day, 8th October 1962. It is indeed a happy coincidence that
this booklet revives those golden memories in the same city, at the
same time of the year, 41 years later.
Panshikar Family: THE ROOTS
Late Pandit Vasudevshastri Laxmanshastri Panshikar (77)
(Grandfather)
Born in 1860 at Pedne, Goa.
Died in 1937 at Mumbai
Late Pandit Visnushastri Vasudeoshastri Panshikar (84)
(Father)
Born in 1888 at Pedne, Goa
Died in 1972 at Mumbai
http://www.natyasampada.com/panshikar-family.htm
THE BIRTH OF 'NATYASAMPADA' - PRODUCTION HOUSE PAR EXCELLENCE
Shortly after 'To Mee Navech', Panshikar entered into a partnership
with Mohan Wagh (Owner of 'chandralekha' one of today's leading
theatre companies) and Vasudeo Kolhatkar and launched 'Natya Sampada',
their own Theatre Production House, on 8th April 1963. After a low-key
start, the Company hit upon its first success with 'Ashrunchi Zaali
Phule', a play written by Prof. Vasant Kanetkar. The cast comprised of
theatre heavyweights such as Panshikar himself in the central role pf
Principal Vidyanand, Dr. Kashinath Ghanekar (the most popular film and
stage actor in those days), Mr. Chittaranjan Kolhatkar (a stalwart of
Marathi theatre), Ms. Faiyyaz, Ms. Kusum Kulkarni etc. The Direction
of this play was entrusted to Mr. Purushottam Darvhekar of Nagpur, for
whom this was a first break on the commercial Marathi Theatre scene in
Mumbai Mr. Darvhekar eventually became a great success in this field
and settled down in Mumbai. The stage sets were designed and created
by Mr. Raghuvir Talashilkar. Over a span of thirty six years, this
play did 1,111 shows, Panshikar alone acting till the very last show
the rest of the cast having undregone several changes. Finally, in
afirst incident of its kind, the entire cast publicly 'retired' in an
emotionally charged function, and one 'last show'. Normally, the
launching of a play is associated with pomp and ceremony. True to its
form, 'Natya Sampada' even discontinued a popular play in a blaze of
glory.
http://www.natyasampada.com/natyasampada/profile.htm
The play 'To Mee Navech' is a courtroom Drama and the author has used
the technique of flashback scenes for narration. This calls for
frequent shuttling between the Court Room the present and the various
other scenes from the past. The operational problems in actually
depicting this on stage were daunting and the first Director hit upon
a solution that was considered novel in those days. He divided the
stage in two parts, and used two separate curtains to cover them.
These curtains would go up and down alternately and cover and uncover
the two halves as required. This enabled the stage behind the stage
behind the closed half curtain to be set while the narrative
progressed on the other half of the stage.
A few years later, the rights to 'To Mee Navech' passed into the hands
of Atre Theatres. The owner of this Company, the playwright Mr. Atre
insisted on a new style of presentation. Panshikar applied himself to
the problem and came up with a true winner the 'Revolving Stage'.
After conceiving the idea, he made a model. The stage was
painstakingly fabricated by Mr. Mhadba Mistry at his 'Vishwas
Engineering Works' Kolhapur. He was ably assisted by Mr. Shamrao
Salokhe and Mr. Rajaram Chavan. This is the world's first portable
Revolving stage. The credit for this invention goes to Prabhakar
Panshikar and thereby to Marathi Theatre.
1966 - Natya Sampada hit upon its first success with 'Ashrunchi Zaali
Phule', a play written by Prof. Vasant Kanetkar. Panshikar designed
the 'Sliding Stage' for this play and further enriched the process of
technical development of Marathi Theatre.
1967 - Panshikar produced a Musical play 'Katyar Kaljat Ghusli',
written and directed by Mr. Purushottam Darvhekar. Panshikar designed
a 'Triple Revolving Stage' specially for it.
http://www.natyasampada.com/contribution-to-theatre.htm
In 1966, Maharashtra was struck by a terrible famine. Panshikar toured
for a whole month, staging shows of his latest hit play, 'Ashrunchi
Zaali Phule' and presented the Govt. Of Maharashtra with Rs. 22,000
for the Famine Relief Fund.
Panshikar toured all over Goa and raised funds totaling Rs. 66,000
which he handed over to the Gomantak Marathi Academy, for construction
of the 'Marathi Bhavan'.
A Senior Journalist from Pune, Mr. Vasudeo Kulkarni was desperately in
need of a kindly transplant. Panshikar staged a special Charity show
of 'To Mee Navech' at BalGandharva RangaMandir', Pune and handed over
the proceeds to Mr. Kulkarni.
http://www.natyasampada.com/social-contribution.htm
Chaturang Interview- Introduction 1 Watch Video
http://www.natyasampada.com/videos/Chaturang/intro1.htm
To mee navhech chi goshta Watch Video
http://www.natyasampada.com/videos/Chaturang/ToMeeNavhech.htm
DipliKumar Ani To Mee Navhech....
Dilip Kumar visited to view the show of 'To Mee Navhech'. Watch Video
After the play 'To Mee Navhech' became a runway success, a film
producer Mr. Sadashiv Raokavi, obtained the rights for making a Hindi
Feature film based on the play. He offered the lead role (played by
Panshikar in the original) to the top Hindi Filmastar Mr. Dilip Kumar.
And so one day in 1963, Mr. Dilip Kumar dropped in to watch a show at
Rang Bhavan, Mumbai.He sat on the audience through the first act, but
came and stood in the wings and observed Panshikar in the second act.
What he saw impressed him greatly. After the play, he declared that
the play and Panshikar's role in it would lose all its novelty and
thrill if it were turned into a movie. He therefore declined to play
the role, even if the producer went ahead with the production. The
project was shelved soon thereafter. Mr. Dilip Kumar reminisced aloud
about this incident during his speech on the occasion of the 1000th
show, where he was the Chief Guest
http://www.natyasampada.com/videos/Chaturang/dilipkumar.htm
^ http://www.natyasampada.com/biography-n.htm
Categories:
Marathi-language films | http://en.wikipedia.org/wiki/Category:Marathi-language_films
Indian plays | http://en.wikipedia.org/wiki/Category:Indian_plays
Marathi literature | http://en.wikipedia.org/wiki/Category:Marathi_literature
Indian literature | http://en.wikipedia.org/wiki/Category:Indian_literature
Marathi:
Grammar · http://en.wikipedia.org/wiki/Marathi_grammar
Phonology · http://en.wikipedia.org/wiki/Marathi_phonology
Devanagari script · http://en.wikipedia.org/wiki/Devanagari
Modi script · http://en.wikipedia.org/wiki/Modi_script
Literature · http://en.wikipedia.org/wiki/Marathi_literature
Poetry · http://en.wikipedia.org/wiki/Marathi_poetry
Samyukta Maharashtra Movement · http://en.wikipedia.org/wiki/Samyukta_Maharashtra_Samiti
Maharashtra State · http://en.wikipedia.org/wiki/Maharashtra
Marathi Wikipedia . http://mr.wikipedia.org/wiki/%E0%A4%AE%E0%A5%81%E0%A4%96%E0%A4%AA%E0%A5%83%E0%A4%B7%E0%A5%8D%E0%A4%A0
http://en.wikipedia.org/wiki/To_Mi_Navhech
http://bakulaji.typepad.com/blog/2010/05/to-mee-navhech-sid-harth.html
http://bakulaji.typepad.com/blog/
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https://thebiodiary.com/home/biograph/entertainment-marathi-film-industry-Prasad-Oak-en
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Prasad Prabhakar Oak
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2023-07-17T04:37:38+05:30
|
Prasad Prabhakar Oak is an actor, director, writer, singer, anchor, poet and film producer. He has received several awards including two Filmfare Awards Marathi and a National Film Award.
|
en
|
https://thebiodiary.com/home/biograph/entertainment-marathi-film-industry-Prasad-Oak-en
|
Prasad Prabhakar Oak is an actor, director, writer, singer, anchor, poet and film producer. He has received several awards including two Filmfare Awards Marathi and a National Film Award.
In 2007 he participated in Sa Re Ga Ma Pa (Celebrity Round) and won, became Ajinkyatara.
Early life
Oak started his career as assistant director for the play Premachi Goshta, with actors Shriram Lagoo and Nilu Phule. He got a break in Shree Adhikari Brother's TV serial Badini. Mrunal Kulkarni was his costar in Badini. His critically acclaimed role was in 'Andharyachya Parambya' which was a television series of famous movie 'Barrister'. He has sung in movies including Doghat Tisra...Ata Sagal Visra and Joshi Ki Kamble. He became well established on television with Avaghchi Sansar, playing gray shed role of Harshvardhan Bhosle. This series had the nation's highest ratings in 2008. He claimed that television has had a big role in success of Marathi films.
Oak has worked in more than 80 television serials. In 2008 he participated in reality show Dhinka Chika as a judge. In June 2012 his show Bhanda Suakhyabhare completed 500 episodes.
His play, Bechki started in January 2013 and was written and directed by Chinmay Mandlekar with Oak in the leading role.
In 2018, he played the role of popular Marathi Stage actor Prabhakar Panshikar in Ani... Dr. Kashinath Ghanekar.
Personal life
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नाट्यगंध: 2014
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सम्यक कलांश प्रतिष्ठान अंतर्गत नाट्य विभाग म्हणजे
नाट्यगंध . सदर विभाग संस्थे अंतर्गत मराठी नाटक तसेच एकांकिकाच्या माध्यमातून रंगभूमीच्या नव -नव्या प्रयोगाचे नवे पैलू दाखविण्याचा तसेच लोकनाट्याचा बाज टिकवून ठेवण्याचा प्रयत्न हा नाट्यगंध ह्या मार्फत होणार आहे. या सर्व गोष्टी यशस्वी होण्यासाठी आपण सर्व रसिक श्रोत्यांचे तसेच कलाकारांचे सहकार्य व आशीर्वाद मोलाचे आहे .
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#AniDrKashinathGhanekar #Marathifilm #review
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2018-11-12T00:00:00
|
Ani...Dr. Kashinath Ghanekar (Marathi) review : A biopic on the first and last superstar of Marathi theatre; Ani...Dr. Kashinath Ghanekar is a brilliant re-telling of the rise and fall of the celebrated actor with Subodh Bhave playing Kashinath to perfection. Spanning nearly two decades of Dr. Ghanekar's illustrious career starting as a dentist doing sidey…
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SNRatings
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https://snratings.wordpress.com/2018/11/12/anidrkashinathghanekar-marathifilm-review/
|
Ani…Dr. Kashinath Ghanekar (Marathi) review :
A biopic on the first and last superstar of Marathi theatre; Ani…Dr. Kashinath Ghanekar is a brilliant re-telling of the rise and fall of the celebrated actor with Subodh Bhave playing Kashinath to perfection.
Spanning nearly two decades of Dr. Ghanekar’s illustrious career starting as a dentist doing sidey acting assignments as a hobby and then graduating to lead roles and superstardom, the film is authentic and accurate in its depiction. No whitewashing, no excess and no lies…Kashinath’s vices including womanizing and his subsequent alcohol addiction which lead to his downfall is shown AS -IS. Really wish Bollywood which is infamous for whitewashing everyone from underworld dons and their sisters to match fixing cricketers right down to a druggie film star should take a cue…
Kashinath’s story is layered with many sub plots and particularly interesting ones are : an already married Ghanekar falling in love with a much younger girl Kanchan (Vaidehi Parshurami), his strong friendship with fellow actor Prabhakar Panshikar (Prasad Oak) and of course, his bitter rivalry with Dr. Shriram Lagoo (Sumeet Raghavan). In one powerful scene, a drunk Kashinath goes to watch Dr. Lagoo’s play and intimidates him in front of the audience.
Any negatives, you may ask? Not many. A few, maybe. For one Kashinath’s strained relationship with his father isn’t properly explained. Also, his first wife bearing with women literally (!!) tumbling out of his closet looks shocking initially. Director Abhijeet Deshpande does explain wifey’s uncanny behaviour towards the end though..
Technically, the film scores big time and I was glad to find a Marathi movie, otherwise tied down by budget constraints, recreate the 70s era so efficiently- whether it is Dadar’s Shivaji Mandir theatre or V Shantaram’s ‘Pinjra’ (1972) set. The music is another plus point with Ghanekar’s popular songs re-recorded beautifully.
Expectedly, the supporting cast is first rate. Prasad Oak, Sumeet Raghavan, Vaidehi Parshurami, Anand Ingle and Suhas Palshikar have performed competently. Mohan Joshi is effective as Bhalji Pendharkar while Sonali Kulkarni leaves an impression as the veteran actor Sulochana.
Ani.. finally above all, is Subodh Bhave.
First, Balgandharva (2011), then Lokmanya Tilak (2015) and now Dr. Ghanekar, Subodh Bhave is truly the biopic champion. Evolving continuously as a solid actor, he’s simply outstanding in this film. His career best!!
Conclusion : Dr. Kashinath Ghanekar deserves a theatrical watch. It’s a rare class of cinema – a (near) flawless biopic made on such a flawed legend.
Ratings on some key aspects :
1. Acting : 4.5/5
2. Direction : 4/5
3. Music : 4/5
4. Story, Screenplay and Dialogue : 4/5
5. Cinematography : 3.5/5
6. Editing : 3.5/5
7. Production Quality : 4/5
8. Action : NA
#SNRating for #AniDrKashinathGhanekar : 4 stars out of 5 (Very good).
– Sumeet Nadkarni
#AniDrKashinathGhanekar #Marathifilm #review #SubodhBhave #SumeetRaghavan #SNRatings
Liked the review?
Click on the link below and like the #SNRatings page to subscribe to honest and unbiased reviews of all latest movies : https://m.facebook.com/SNRatings
You can also follow us on Twitter handle : @sumu76in
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https://govjobadda.org/current-affairs/dadasaheb-phalke-and-sahitya-akademi-winner-ratnakar-matkari-posthumously-honoured-by-maharashtra-go/5f016ea3056e370d48d8e80d/
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Dadasaheb Phalke and Sahitya Akademi Winner Ratnakar Matkari Posthumously Honoured by Maharashtra Government
|
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On 2nd July 2020, The Government of Maharashtra announced that Marathi writer and playwright Ratnakar Matkari will be posthumously honoured with the Natvarya Prabhakar Panshikar award for his lifetime contribution to the theaters and arts.
The Natvarya Prabhakar Panshikar award comprises a citati...
| null |
On 2nd July 2020, The Government of Maharashtra announced that Marathi writer and playwright Ratnakar Matkari will be posthumously honoured with the Natvarya Prabhakar Panshikar award for his lifetime contribution to the theaters and arts.
The Natvarya Prabhakar Panshikar award comprises a citation, a memento and a cash prize of Rs.5 Lakh.
The committee headed by Amit Deshmukh, Minister of Culture, selected Matkari for the Natvarya Prabhakar Panshikar award 2019-2020 and the announcement was delayed due to Covid-19 pandemic.
He was well known for his contribution to Marathi literature in the form of short stories, plays and novels.
ii.He was a pioneer of the children drama movement in Marathi and he has written numerous novels for children.
His plays for children include Albatya Galbatya, Nimma Shimma Rakshas and Achat Gawachi Aphat Mavashi.
He was also a director and producer in the Marathi film industry and directed movies like Prem Kahani, State Lote, Lokakatha 78 among others.
He was a columnist in the 1970 and contributed to numerous newspapers and magazines.
He was born on 17th November 1938 in Mumbai and passed away at the age of 81 due to coronavirus infection in Mumbai on 17th May 2020.
The famous Ajanta Ellora Caves, a UNESCO World heritage site is located in Aurangabad, Maharashtra.
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https://www.facebook.com/100057488648041/videos/10th-smriti-din/1356702374682560/
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Today on the 10th Smriti Din of the great Actor/Producer, here's Prabhakar Panshikar himself recounting how he got into acting...
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Today on the 10th Smriti Din of the great Actor/Producer, here's Prabhakar Panshikar himself recounting how he got into acting...
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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https://www.facebook.com/100057488648041/videos/10th-smriti-din/1356702374682560/
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https://mirchi.in/stories/celebrity/marathi-actor-jayant-savarkar-passes-away-at-87/102079017
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en
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Marathi actor Jayant Savarkar passes away at 87
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[
"Mirchi"
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2023-07-24T16:20:12+05:30
|
Jayant Savarkar began his journey in Marathi theater as a backstage artist, and later, he got the opportunity to act in the renowned playwright Vijay Tendulkars stage production, Manus Navache Bet.
|
en
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/static/media/favicon.e09c8e9d.ico
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https://mirchi.in/stories/celebrity/marathi-actor-jayant-savarkar-passes-away-at-87/102079017
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https://wynk.in/music/package/new-marathi-songs/bb_1411107876475
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Listen to New Marathi Songs Online & Download Marathi Gane
|
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Play New Marathi Songs with Wynk Music. Listen to Marathi Geet & Download the Latest Marathi Gane Offline on Wynk.
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en
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/favicon.ico
|
Wynk Music
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https://wynk.in/music/package/new-marathi-songs/bb_1411107876475
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Wynk Music is the one-stop music app for the latest to the greatest songs that you love. Play your favourite music online for free or download mp3. Enjoy from over 22 Million Hindi, English, Bollywood, Regional, Latest, Old songs and more.
2024 © All rights reserved | Airtel Digital Limited
|
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8363
|
dbpedia
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2
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https://www.imdb.com/name/nm1665363/
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en
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Prabhakar Panshikar
|
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Prabhakar Panshikar. Actor: Mareparyant Phaashi. Prabhakar Panshikar, a celebrated Marathi stage actor, left an indelible mark on the world of theater. Born in Bombay (now Mumbai), India, he hailed from the Karhade Brahmin community. His lineage included Sanskrit scholars, with his grandfather translating the authoritative Ayurvedic manual, Nighantu Ratnakar, into Marathi.
From a young age, Prabhakar was captivated by acting and the world of theater. During his school days, he not...
|
en
|
IMDb
|
https://www.imdb.com/name/nm1665363/
|
Prabhakar Panshikar, a celebrated Marathi stage actor, left an indelible mark on the world of theater. Born in Bombay (now Mumbai), India, he hailed from the Karhade Brahmin community. His lineage included Sanskrit scholars, with his grandfather translating the authoritative Ayurvedic manual, Nighantu Ratnakar, into Marathi.
From a young age, Prabhakar was captivated by acting and the world of theater. During his school days, he not only watched famous plays but also actively participated in Ganesha Festival performances in Girgaon, Mumbai. His love for drama led him away from his family during his early teens.
In 1955, at the age of 25, Prabhakar embarked on his professional journey in Marathi theater with the play Ranicha Baag. Under the guidance of veteran Marathi drama director M. G. Rangnekar, he honed his skills and acted in plays like Kulwadhu, Bhumikanya Sita, Vahini, and Khadashtak. However, it was Rangnekar who offered him the breakthrough role in the play To Mi Navhech (translated as "I Am Not Him"). Prabhakar portrayed the character of Lakhoba Lokhande, which became immortal in Marathi theater history. To Mi Navhech gained immense popularity and was even translated into other Indian languages, including Gujarati and Kannada.
Prabhakar Panshikar founded Natyasampada, a Marathi drama production organization. Through this platform, he nurtured local artists and launched them in cities like Pune, Mumbai, Kolhapur, and Nagpur. Over his illustrious career, Prabhakar performed in more than 8,000 stage shows spanning 53 years. His commitment to the stage was unwavering, and he became a beacon for aspiring actors and theater enthusiasts.
Prabhakar hailed from the Panshi village in Pernem Taluka, Goa. His family roots were deeply connected to this region. His passion for theater and dedication to the craft left an indelible mark on Marathi cultural heritage. Prabhakar Panshikar's portrayal of Lakhoba Lokhande and his unwavering commitment to the stage continue to inspire generations of artists and theater enthusiasts. His legacy lives on as a beacon of creativity and excellence in Marathi theater .
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8363
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dbpedia
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0
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https://alchetron.com/Prabhakar-Panshikar
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en
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Alchetron, The Free Social Encyclopedia
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[
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2017-08-18T08:30:48+00:00
|
Prabhakar Panshikar (Marathi ) (14 March 1931 13 January 2011) was an actor on Marathi Stage. His role as Lakhoba Lokhande in the drama To Mi Navhech is considered to be one of the most memorable roles presented so far on the Marathi stage. He was also the owner of Natyasampada, a w
|
en
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/favicon.ico
|
Alchetron.com
|
https://alchetron.com/Prabhakar-Panshikar
|
Biography
Panshikar was born into a family of Karhade Brahmin in Phanaswadi, Mumbai. His forefathers had been Sanskrit scholars with his Grandfather translating into Marathi Nighantu Ratnakar, the authoritative manual of Ayurvedic treatment. He had three brothers who were all masters of Sanskrit language. The Panshikar are originally from Goa, with their roots in the Panshi village in Pernem Taluka.
Initially, Panshikar worked and acted under the guidance of veteran Marathi drama director M.G. Rangnekar. Rangnekar gave him his break in the play To Mi Navhech by offering him the main role in 1962. The show became so popular that it was subsequently translated into other Indian languages like Gujarati and Kannada.He has to his credit the distinction of performing as an actor & producer on screen, stage and television. He formed an organization named Natyasampada and he developed local artists and launched them in cities like Pune, Mumbai, Kolhapur etc. He has spent 53 years on stage with over 8000 performances to his credit.
Personal life
Panshikar was married to Vijaya (née Kulkarni), with whom he had three children and seven grand children. His elder daughter, Janhavi Panshikar-Singh, is also an actress. She is married to TV actor Shakti Singh. Panshikar's son, Raghunandan Panshikar, is Hindustani classical singer and is a disciple of noted singer Kishori Amonkar. Raghunandan is married to Aparna Deshpande and the couple have two children. Panshikar's younger daughter, Tarangini, is a gold medallist in Sanskrit. She is married to marine engineer Narendra Khot. They have two children.
Death
Panshikar died in Pune on 13 January 2011 from cardiac arrest.
Selected plays
Bhatala Dili Osari
To Mee Navhech
Ithe Oshalla Mrutyu
Ashroonchi Zhali Phule
Thank You Mr.Glad
Jithe Gavtala Bhale Phuttat
Jwalamukhi
Selected plays as producer
Sangeet Madanachi Manjiri
Sangeet Suvarna Tula
Katyar Kaljat Ghusali
Andhar Maza Sobati
Kimayagar
Putrakameshti
"Sangeet Awagha Rang Ekachi Zaala"
"Many Happy Returns (Marathi Play)"
"Vichcha Majhi Puri Karaa"
"Varyavarchi Varaat"
"Lekure Udand Jaali"
"Lagnachi Bedi"
Honours and awards
Vishnudas Bhave Suvarnapadak
Rajarshee Shahu Suvarnapadak
Natyagaurav Puraskar
Sanget Natak Akademi Puraskar
Natasamrat Bal Gandharva Smriti Puraskar
Natashreshtha keshavrao Date Puraskar
Dr.Kashinath Ghanekar Smriti Puraskar
Natvarya Dattaram Puraskar
Acharya Atre Puraskar
Kalashri Puraskar
Uttung Puraskar
Maharashtra Gaurav Puraskar
Jagatik Marathi Parishad Puraskar
Dinanath Mangeshkar Smriti Puraskar
NatyaDarpan -'Man Of The Year'
Natasamrat Nanasaheb Phatak Smriti Puraskar
Navratna Puraskar
Ratnappa Kumbhar Puraskar
Maharashtra Bhushan Puraskar
First Jeevan Gaurav Puraskar of State Govt., Maharashtra, later this award was named Prabhakar Panshikar award.
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8363
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dbpedia
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3
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|
https://www.dnaindia.com/mumbai/report-looking-for-a-21st-century-lakhoba-lokhande-1208475
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en
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Looking for a 21st Century Lakhoba Lokhande
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[] |
[] |
[
"Prabhakar Panshikar",
"Gujrati",
"Janhavi Panshikar?s",
"Navech",
"Atre",
"Acharya Atre?s",
"Kannada",
"Natya Sampada",
"Lakhoba Lokhande"
] | null |
[
"Munira Chendvankar"
] |
2008-11-22T03:55:00+05:30
|
Prabhakar Panshikar, is looking for dynamic young artists, with potential to carry on the legacy of his 46-year-old play To Me Navech
|
en
|
DNA India
|
https://www.dnaindia.com/mumbai/report-looking-for-a-21st-century-lakhoba-lokhande-1208475
|
Prabhakar Panshikar, is looking for dynamic young artists, with potential to carry on the legacy of his 46-year-old play To Me Navech
|
|||||
8363
|
dbpedia
|
1
| 48
|
https://www.howtopronounce.com/prabhakar
|
en
|
How to pronounce Prabhakar
|
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[] |
[] |
[
""
] | null |
[
"Kristofer Wunsch",
"Hindustan Times",
"India West",
"Gulf News",
"timesofindia.indiatimes.com",
"Mid Day"
] |
2019-10-17T17:08:00
|
How to say Prabhakar in English? Pronunciation of Prabhakar with 4 audio pronunciations, 1 meaning, 4 translations, 14 sentences and more for Prabhakar.
|
en
|
/apple-icon-57x57.png
|
https://www.howtopronounce.com/prabhakar
|
Wiki content for Prabhakar
Prabhakar - Prabhakar is an Indian given name and surname.
Prabhakar (Telugu actor) - Prabhakar is an Indian film actor, known for his role as Inkoshi, king of the Kalakeyas in Baahubali: The Beginning.
Prabhakar Misra - Prabhakar Misra is an American physicist, who researches and teaches at Howard University in Washington, D.C., and is currently a Professor in the Department of Physics and Astronomy.
Prabhakar Panshikar - Prabhakar Panshikar (Marathi: प्रभाकर पणशीकर) (14 March 1931 – 13 January 2011) also known as Pant was an actor on Marathi Stage.
Prabhakar Raghavan - Prabhakar Raghavan is a Senior Vice President of Engineering at Google. His research spans algorithms, web search and databases and he is the co-author of the textbooks Randomized Algorithms
{{wiki_api.name}} {{' - '+wiki_api.description}}
|
|||||
8363
|
dbpedia
|
2
| 66
|
https://omkar21.wordpress.com/2018/11/08/movie-review-ani-dr-kashinath-ghanekar/
|
en
|
Movie review: Ani Dr. Kashinath Ghanekar
|
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[] |
[] |
[
""
] | null |
[] |
2018-11-08T00:00:00
|
Rating: 4/5 stars (A must watch) Subhod Bhave has become the face for many legendary personalities since the past few years. 'Ani Dr. Kashinath Ghanekar' is also one such biopic where he plays the role of Dr Kashinath Ghanekar. The movie being a biopic portrays the on and off stage life of the actor through…
|
en
|
pictureboltahai
|
https://omkar21.wordpress.com/2018/11/08/movie-review-ani-dr-kashinath-ghanekar/
|
Rating: 4/5 stars (A must watch)
Subhod Bhave has become the face for many legendary personalities since the past few years. ‘Ani Dr. Kashinath Ghanekar’ is also one such biopic where he plays the role of Dr Kashinath Ghanekar. The movie being a biopic portrays the on and off stage life of the actor through various phases of his life.
Speaking in many reality shows, the cast made it clear that none of them tried to mimic the personalities they were playing. They all trusted the director–that is Abhijeet Deshpande–for his vision and research, as Deshpande has not failed in delivering a hit.
The movie revolves around the life of Ghanekar, the tragedies and upsets he faced which came hand in hand with fame. Ghanekar, a theater-lover known as the first superstar in Marathi clearly failed to handle fame which was destined to him. He took on acting seriously after his wife–who was not very fond of his acting–allowed him to do so in exchange of not being able to give him a child. This was perhaps the greatest compensation for the theater industry.
Chasing his passion Ghanekar proved to be a versatile actor and a huge contributor to Marathi theater, especially when the crowd was shifting towards Bollywood films. It wouldn’t be wrong to say that Marathi theater industry owes him for being active in the present years.
The star cast in the movie is one every director would dream of. Apart from Bhave the main cast consists of big names like Sumeet Raghavan as Dr. Sriram Lagoo, Anand Ingle as Vasant Kanetkar, Sonali Kulkarni as Sulochana Latkar and Prasad Oak as Prabhakar Panshikar. Everyone has lived up to their reputation as actor. Even Vaidehi Parshurami who plays the role of Kanchan Ghanekar (Ghanekar’s second wife) has done a fairly good job.
The friendship between Panshikar and Ghanekar is one of the standout in the whole film. Panshikar plays a vital role in the life of Ghanekar that deteriorates after the entry of Dr. Lagoo in the movie. One finely directed scene comes right after interval when Panshikar and Ghanekar are are sitting on a seesaw-type cart, balancing themselves as Panshikar uses metaphor and says “Me uthin tar tu padshil” (If I get up, you will fall). The scene makes so much sense in context of Panshikar’s character. The movie consists of many such scenes if observed.
The movie also shows the bitter relation between Ghanekar and Dr. Lagoo. It showcases two different genres of theater and the appreciation they received. The cold war between the two actors and the dialogues are very immaculately executed. There are few new songs in the movie as the some songs are used as it is. The music video of those songs are also replicated to good effect.
There is also a parallel story line of a character named Dinkar Phule, which goes on. Phule, a college student is Ghanekar’s biggest fan and a theater lover. His love for Ghanekar is seen at every stage of his life. His character takes an interesting turn post the interval which ends in a tragic way.
The movie, which is going housefull in cinema halls across the state is an example of the greatness of Ghanekar and his contribution. However, while watching the movie surely a Dinkar Phule in everyone will die somewhere.
|
|||||
8363
|
dbpedia
|
0
| 3
|
https://timesofindia.indiatimes.com/city/pune/panshikar-of-to-mee-navech-fame-dead/articleshow/7281101.cms
|
en
|
Panshikar of 'To Mee Navech' fame dead
|
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"To Mee Navech",
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] | null |
[
"TNN"
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2011-01-14T05:29:00+05:30
|
Renowned theatre actor Prabhakar Panshikar, who is best remembered for the five leading roles in the epic play 'To Mee Navech', died of cardiac and r
|
en
|
The Times of India
|
https://timesofindia.indiatimes.com/city/pune/panshikar-of-to-mee-navech-fame-dead/articleshow/7281101.cms
|
8 flowers and plants that will attract birds to your garden
Lifestyle
9 habits which will keep your skin young
Lifestyle
10 delicious dishes to pair with Idli beyond Sambhar
Food
International Beer Day 2024: 8 types of beer and ingredients used in making them
Food
10 most famous wildlife safaris across the globe
travel
Sawan special: Easy Makhana Mango Barfi made under 10 mins
Food
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2
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https://www.mid-day.com/lifestyle/health-and-fitness/article/Look-to-the-past-to-find-inspiration-now-173467
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en
|
Look to the past to find inspiration now
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[
"Marathi theatre troupe Natyasampada",
"golden jubilee year",
"Anant Panshikar",
"journey"
] | null |
[
"Dhara Vora"
] |
2012-07-21T05:30:00
|
en
|
https://www.mid-day.com/md-48.ico
|
Mid-day
|
https://www.mid-day.com/lifestyle/health-and-fitness/article/Look-to-the-past-to-find-inspiration-now-173467
|
Marathi theatre troupe Natyasampada enters its golden jubilee year. Anant Panshikar reminisces about their journey so far
Founded in 1963 by Marathi theatre legend Prabhakar Panshikar, Natyasampada is now managed by his nephew, Anant Panshikar, who plans to revive productions of several of their landmark plays.
ADVERTISEMENT
“My uncle started the production house in partnership with Mohan Wagh and Vasudeo Kolhatkar. The first play produced under the banner was Mohini,” says Anant, adding, “Most of the initial plays flopped, and the group later split, though amicably.”
It was after the senior Panshikar brought To Mee Navhech to the stage, a play in which he had previously acted that the group started to make a name for itself. Written by Acharya Atre, To Mee Navhech sees Panshikar play the role of Lakhoba Lokhande, a conman, who takes on five different disguises to con women. It was not just his acting that impressed the audience, but also the speed with which Panshikar managed to change his costumes, using the time to exit from one side of the stage to entering from the other.
The play was also known for its use of the revolving stage, which Panshikar would have dismantled and carried to wherever the performance went. Recalling an incident when they had to use another stage, all did not go according to plan: “Once, during a performance in Vashi, the stage revolved twice without any hitch. The third time, however, it didn’t stop moving until the entire set was destroyed. Fortunately, no one was hurt and, with encouragement from the audience, my uncle continued the performance,” says Anant, who plans to have a big-screen release of the recording of the play as part of the anniversary celebrations.
Natyasampada has also been instrumental in keeping the tradition of Sangeet Natak alive in Marathi theatre. “In 1967, when most of the producers were against doing musical plays, my uncle produced Katyar Kaljyat Ghuslali - a play about the clash of two gharanas. It wasn’t accepted at first, but slowly the play gained recognition and caught the producers’ attention,” says Anant. To date, Natyasampada has kept the tradition alive with plays such as Awagha Ranga Ekachi Zaala.
Natyasampada continues to work on reviving classic plays. “Our audience comprises mostly 20 to 40 year-olds,” says Anant, adding, “Lagnachi Bedi, which is a 75-year-old play, talked about live-in relationships all those years ago.” In keeping with the troupe’s philosophy, Anant brought the Marathi adaptation of Samuel Beckett’s, Waiting for Godot and PL Deshpande’s classic, Varyavarchi Varaat, back last year.
Anant recalls, “The day he passed away, I had a press conference in Kolhapur. He called to ask from the hospital if I had sorted everything. After the conference got over, I got a call informing me about his demise. Even when he was on a ventilator, he kept track of rehearsals.”
Quiz him about one thing he admires the most about his uncle and he says: “He had the knack of building a team. If he was in another city for a performance, and for some reason an actor couldn’t show up, he would know just who to ask to step into the actor’s shoes at the last minute.”
|
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| 8
|
https://www.indianetzone.com/32/prabhakar_vishnu_panshikar_indian_theatre_personality.htm
|
en
|
Prabhakar Vishnu Panshikar
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Prabhakar Vishnu Panshikar was an actor, director, and manager in commercial Marathi theatre.
|
https://www.indianetzone.com/images_test/inz_small_icon.ico
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IndiaNetzone.com
| null |
Prabhakar Vishnu Panshikar was an actor and director of Marathi Theatre. He was also a manager in commercial Marathi theatre. Prabhakar Vishnu Panshikar was born in Bombay in 1931. He began his career as an actor in 1955 when he joined M. G. Rangnekar's Natyaniketan, and was trained by directors like Rangnekar and Nandu Khote. Real popularity came as the conman protagonist in Atre's to mi navhech or 'I'm Not Him' in 1962, of which he must have done over 1500 shows. However, he left owing to differences of opinion with Rangnekar and established his own company, Natyasampada, with Vasudev Kolhatkar and Mohan Wagh. Their first three productions failed miserably. The break came with Vasant Kanetkar's Ashrunchi jhali phule or 'Tears Have Become Flowers' in 1966. In that play his role of the professor-turned-goonda won tremendous appreciation. Later ventures, both prose drama and Sangitnatak proved almost equally successful, like Darwhekar's Katyar kaljat ghusli or 'Dagger Pierced the Heart' in 1967. He is said to have notched up over 5000 performances as an actor.
This article is a stub. You can enrich by adding more information to it. Send your Write Up to content@indianetzone.com
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| 64
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https://tv.apple.com/au/movie/naan-avanillai/umc.cmc.4t9g5gyng8d3rbab1gsqhaqpe
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en
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Naan Avanillai
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2007-01-01T00:00:00+00:00
|
Naan Avanillai is a 2007 Indian Tamil-language romantic thriller film directed by Selva. It is a remake of K. Balachander's classic movie with the samâ¦
|
en
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Apple TV
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https://tv.apple.com/au/movie/naan-avanillai/umc.cmc.4t9g5gyng8d3rbab1gsqhaqpe
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8363
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dbpedia
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0
| 28
|
https://prashantb.wordpress.com/2020/09/28/memories-of-dr-kashinath-ghanekar-first-super-star-of-marathi-theatre/
|
en
|
Memories of Dr. Kashinath Ghanekar : first super star of Marathi theatre
|
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2020-09-28T00:00:00
|
Theatre was his first love. Despite getting movie offers at height of stardom, he left cinema to return to stage. His mood swings and temper was difficult to tolerate. At one point, he was jobless. Not a single theatre producer or director wanted to work with him. He was the one who brought the glory…
|
en
|
https://secure.gravatar.com/blavatar/16fa5aa39392d13317130db0c046ef1618adf9cfcd5a8ccba9f1d800c2df0909?s=32
|
Stories that evoke nostalgia
|
https://prashantb.wordpress.com/2020/09/28/memories-of-dr-kashinath-ghanekar-first-super-star-of-marathi-theatre/
|
Theatre was his first love. Despite getting movie offers at height of stardom, he left cinema to return to stage. His mood swings and temper was difficult to tolerate. At one point, he was jobless. Not a single theatre producer or director wanted to work with him. He was the one who brought the glory of theatre back to form. Yet he died lonely in his dark days. He was Dr Kashinath Ghanekar – the first and only superstar of Marathi theatre (rangbhoomi).
His biopic – Aani..Dr Kashinath Ghanekar (2018) ignited a new spark in my mind to write on the golden days of Marathi theatre and the rise and fall of the great legend: Kashinath Ghanekar. Yet something was missing in my write up on this great artist. I wanted to know who really he was – A flawed artist or a great theatre legend. Like every human, he had his own flaws. He was insecure, alcoholic and bit eccentric. Due to his restless spirits, it was difficult for theatre directors and writers to work with him. A dentist by profession, Dr Kashinath Ghanekar started his struggle as actor in theatre as a prompter. Dr Kashinath Ghanekar’s father never approved of his love for acting and theatre. Though Dr Kashinath Ghanekar was at his height of success in theatre world, he couldn’t win the admiration of his father till the last breath of his life.
In 50’s and 60’s, acting work wasn’t looked up as a noble profession by well-cultured families. It was the era of late 60’s when Bollywood movies had taken nation by storm. Marathi Rangbhoomi (theatre) was suffering a setback. There was not a single actor who could breathe a new life in the stage plays. At this juncture, Dr Kashinath Ghanekar’s play – ‘Raigada jevha jaag yete’ pulled theatre lovers back to stage plays. His role as Chattrapati Sambhaji sent patriotic goosebumps in minds of audience. Ticket counters were always houseful. People crowded literally to shake hands with him. There was euphoria, craze and adulation for him. Dr Kashinath Ghanekar was on top of the world. He had his own era. But his success was shortlived. His glorious days were over.
It is been said that a fanatic fan used to give threatening call to him. The fan couldn’t see his hero succumb to alcohol and fall midway during performance. Dr Kashinath Ghanekar literally went to depression when he discovered that his fan had committed suicide. He had lost one of his dearest fans.
His addiction to alcohol, his rivalry with contemporary actors like Dr Shriram Lagoo and his arrogant behavior with his co-actors were his major flaws that brought an abrupt end to his career as an actor. Marathi theatre was changing. But Kashinath was still stuck in glory of his old days. He couldn’t adapt himself to the changing dynamics of theatre. Even the theatre association wasn’t ready to cast him in his plays. It was only Kashinath’s friend Prabhakar Panshikar who stood by him.
He wanted to make a comeback. Sadly, he died broken-hearted due to cardiac arrest during his tour to Amravati. Had he survived, Dr Kashinath Ghanekar would have taken Marathi theatre to next level. No one recognized his worth except his second wife – Mrs Kanchan Ghanekar. Her book – Nath Ha Maaza is a memoir cum biography which gives a glimpse at the intimate moments and events occurred in life of late Dr. Kashinath Ghanekar. Even the biopic ‘Aani Dr Kashinath Ghanekar’ was based on ‘Nath Ha Maza’.
Even today the theatre audiences remember Dr Kashinath Ghanekar for his iconic role as ‘Lalya’ in the longest running play ‘Ashrunchi Jhale Phule’. It was role of ‘Lalya’ that made him a household name in world of theatre. His notable works include the successful plays – ‘Garambhica Bapu’, ‘Anandi Gopal’ and ‘Raigadala Jevha Jaag Yete’. I had seen some of his movies – ‘Paathlag’, ‘Ha Khel Savlyancha’ during my childhood days. It took me several decades to know about his legendary legacy in the biopic – Aani Dr Kashinath Ghanekar.
Even today’s Bollywood superstars like Akshay Kumar, Shahrukh Khan don’t enjoy that fan following like Dr Kashinath Ghanekar did. Today Dr Kashinath Ghanekar may be forgotten, but his legacy lives on through his plays and movies. This write up is reminiscence of old days of Marathi theatre and artists who dedicated themselves to the craft. Through this blog post, I wanted to pay homage to the legendary artist Dr Kashinath Ghanekar whom the theatre fraternity always misquoted.
To know more about Dr Kashinath Ghanekar’s legacy, I highly recommend the book – Nath Ha Maza penned by his wife Mrs Kanchan Ghanekar.
|
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8363
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dbpedia
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1
| 72
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https://www.dnaindia.com/mumbai/report-looking-for-a-21st-century-lakhoba-lokhande-1208475
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en
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Looking for a 21st Century Lakhoba Lokhande
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] |
[] |
[] |
[
"Prabhakar Panshikar",
"Gujrati",
"Janhavi Panshikar?s",
"Navech",
"Atre",
"Acharya Atre?s",
"Kannada",
"Natya Sampada",
"Lakhoba Lokhande"
] | null |
[
"Munira Chendvankar"
] |
2008-11-22T03:55:00+05:30
|
Prabhakar Panshikar, is looking for dynamic young artists, with potential to carry on the legacy of his 46-year-old play To Me Navech
|
en
|
DNA India
|
https://www.dnaindia.com/mumbai/report-looking-for-a-21st-century-lakhoba-lokhande-1208475
|
Prabhakar Panshikar, is looking for dynamic young artists, with potential to carry on the legacy of his 46-year-old play To Me Navech
|
|||||
8363
|
dbpedia
|
3
| 84
|
https://books.google.com/books/about/Recipients_of_the_Maharashtra_Bhushan_Aw.html%3Fid%3DPs6fcQAACAAJ
|
en
|
Google Books
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
https://books.google.com/
|
Search the world's most comprehensive index of full-text books.
My library
|
||||||||
8363
|
dbpedia
|
1
| 25
|
https://www.thehindu.com/entertainment/theatre/an-ode-to-marathi-theatre/article26267646.ece
|
en
|
An ode to Marathi theatre
|
https://th-i.thgim.com/public/entertainment/theatre/219yc1/article26267645.ece/alternates/LANDSCAPE_1200/15frplay-marathijpg
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https://th-i.thgim.com/public/entertainment/theatre/219yc1/article26267645.ece/alternates/LANDSCAPE_1200/15frplay-marathijpg
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[] |
[] |
[
"Deepa Gahlot",
"Anant Panshikar"
] | null |
[
"Deepa Gahlot"
] |
2019-02-14T10:22:36+00:00
|
Anant Panshikar’s latest musical celebrates 175 years of Marathi theatre
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/entertainment/theatre/an-ode-to-marathi-theatre/article26267646.ece
|
To celebrate the 175th anniversary of Marathi theatre, producer Anant Panshikar has come up the musical, ‘Chi Sau Ka Rangbhumi,’ on the relationship between Rangbhumi (stage) and Rasik Raj (audience), narrating their life together, through a selection of songs and scenes from classic Marathi plays. As the nephew of the legendary Prabhakar Panshikar, Anant has seen the glorious days of Marathi theatre.
“It was in 1843 that the first sangeet natak, ‘Sita Swayamwar’ was staged, so our production covers a period from then to 1980. Nobody has attempted to do a retro project in a play format.”
The idea for the play took root, when Panshikar was commissioned to do a production of Vasant Kanetkar’s classic ‘Matsyagandha’ (the story of Satyavati from the Mahabharat ) . “I asked Sampada Joglekar Kulkarni, with her background in dance and theatre to direct this; also because I thought a play about such a fascinating woman from the Mahabharat should be directed by a woman, and she did prove herself. We wanted to promote youngsters, so we spread the word through social media for audition. We received over 150 videos on Whatsapp and the selections were done by eminent people. The cast, all aged between 20-30 , was so talented that the play turned out very well. The Goa Hindu Association that assigned me the play wanted only 25 shows. So we had to do another musical quickly to retain this wonderful bunch of actor-singers. I thought, Marathi sangeet natak has a fascinating history, why not do something with that?”
Sampada came up with the idea of the theatre-audience marriage, which she wrote, directed and acted in as Rangbhumi (in Marathi Rangbhumi is referred to in the feminine gender). After a lot of research, plays, songs, and scenes were shortlisted, which were incorporated into the lavish production. “We tried to incorporate as much as we could. There is so much material, that I can do another version of this play with different songs and scenes. Sangeet Natak is so popular, that even today, there are revivals of 100-year-old plays such as ‘Sangeet Saubhadra’, ‘Sanshay Kallol’ and ‘Ekach Pyala’.”
Anant’s parents were classical musicians, but it was his uncle who drew him to theatre. “When I was in the tenth standard, I joined Amrut Natya Bharti, at the Mumbai Marathi Sahitya Sangha — a two-year diploma course in theatre, introduced by Kamlakar Sontakke, who had returned from the National School of Drama with a gold medal. A popular venue for Marathi theatre, I learnt a lot there, and also saw a lot of plays, some of them several times. In every middle-class family, it is important to have a job, so I went to college and also got into inter-collegiate theatre. I directed and acted in quite a few plays, but soon realised that acting was not my forte.”
After spending years working in the advertising and corporate world, in 1996, Anant decided to quit his job and do something connected with theatre. “Luckily, a Marathi channel, Tara, was launched, headed by Rathikant Basu, and I produced a lot of classic plays for television, including some by Prabhakar Panshikar, which got me closer to him. Then, around 1999, I saw an interview with him on television, in which he said, he would close down his company Natyasampada, because there was nobody to run it after him. I told him, what if I took over? That’s how I got involved with Natyasampada.
“ I gave up everything to focus on theatre. Our first production together was a new Marathi sangeet natak , ‘ Avagha Rang Ekachi Zaala.’ It turned out to be a huge hit, because after ‘Katyar Kaljat Ghusli’ in 1967, for 40 years, there had been no new musical. It gave me a lot of confidence. My interest in prayogic (experimental) theatre, led to my production of ‘Waiting For Godot,’ in which for the first time Tom Alter acted in a Marathi play.”
Over the next few years, Anant produced some new plays and many revivals of the classics, like ‘Vichcha Majhi Puri Karaa’ by Vasant Sabnis, ‘Varyavarchi Varaat’ by Pu La Deshpande, ‘Lekure Udand Zaali’ by Vasant Kanetkar, ‘Lagnachi Bedi’ by P. K. (Acharya) Atre. “Prabhakar Panshikar was with me till his death in 2011; he had retired from the stage, but he toured with us. Now, of course, the company is called Natyasampada Kala Manch, because I want to work with the new generation. With every production, I introduce a new actor, director or playwright.”
Anant also invests his own money into his productions. He confesses that not all his plays have been hits. In fact, the failure of two consecutive productions — ‘Sangeet Jagne Vhave Gaane’ and ‘Begum Memory Athvan Gulam’ — landed him in soup. “I drew on my provident fund and gratuity till the next productions pulled me through. Every business has its ups and downs. But in any other business, a down can devastate a person; at least in theatre, the creative satisfaction is very high,” he says.
On his fondness for reviving old masterpieces he says, “When I took over Natyasampada, the great playwrights like Kanetkar and Atre were no more. I thought, let me revive their plays, so I can have the credit of doing plays by those doyens. All those plays were successful—in fact for Pula’s Varyavarchi Varaat, for 25 shows I did not even advertise the celebrity cast, people came for Pula; picking new plays is a challenge, however, since there is no formula for success. Nobody can predict what the audience will like and what will make money for the producer.”
One big hurdle that he sees is that Marathi theatre is losing a young audience. “The youngest viewer must be 40; I have been trying for many years, but the average age of the audience is just not coming down. That’s why I try to work with new people and fresh concepts — young people can make a major difference to the kind of plays we do.”
He is also content being a producer, the man who brings the right talent and the right project. “The producer is usually taken for granted and seldom gets enough credit, but I am happy to stay behind the scenes. When the audience appreciates a play, there is a kind of satisfaction, a ‘kick’ in that.”
The writer is a critic and columnist
|
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8363
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dbpedia
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2
| 70
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https://meetkalakar.com/Artist/2195-Natyasampada
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en
|
Learn Hindustani Classical Vocal, Kathak, Tabla, Light Vocal, Flute, Harmonium, Sitar, Modern dance forms, Bharatnatyam
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"Lagnachi Bedi"
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Natyasampada , produced over 40 plays, in Gujrathi and Marathi
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Shri. Prabhakar Panshikar, has to his credit the unique distinction of performing as an actor & producer on screen & on television as well and reaching the theatre to each and every district, village and taluka in Maharashtra. He developed local artists and launched them in cities like Pune, Mumbai, Kolhapur etc. through his theatre company - Natyasampada. He did this for over five decades relentlessly with a missionary zeal till his unfortunate demise in 2011. He was an institution by himself. He has spent 53 years on stage with over 8000 performances to his credit. The Government of Maharashtra, felicitated him by giving him the 1st Jeevan Gaurav Puraskar. And further honored him by naming this annual award itself as 'Prabhakar Panshikar Jeevan Gaurav Puraskar'.
Natyasampada
Shortly after his first successful play 'To Mee Navech', Panshikar launched his production company - 'Natya Sampada', on 8th April 1963 along with his colleagues Late Mohan Wagh and Vasudeo Kolhatkar. Later the partners split and Shri. Prabhakar Panshikar retained Natyasampada.
In spite of some pitfalls and losses incurred in the initial productions, Natyasampada continued its endeavor to give quality entertainment to the Marathi audiences. 1967-Panshikar came together with a close friend and Actor Director from the Gujarathi stage - Mr. Kanti Madia, and launched the Gujarathi Division of 'Natya Sampada'. Since 1963 to 2002. Natyasampada , produced over 40 plays, Mr. Panshikar's health started troubling him and the tours got constrained. Around 2006, he decided to stop acting and handed over the management of Natyasampada to his nephew - Anant Panshikar.
Anant Panshikar
In 2007, 40 years after the production of a successful musical in Marathi titled 'Katyar Kaljat Ghusli', Anant Panshikar produced his first play under the guidance of Shri. Prabhakar Panshikar titled ‘Sangeet Awagha Rang Ekachi Zaala’. Anant Panshikar's career as 'Nirmata' began. Anant developed a team of youngsters with fresh ideas and experimented with international classic Waiting For Godot,where renowned actor from Hindi and English theatre and cinema, Tom Alter made his first appearance on Marathi stage. Since then there was no looking back and Natyasampada continued with the same glory and pompous and produced - Many Happy Returns(2009), Vichcha Majhi Puri Kara(2011), Varyavarchi Varaat(2011), Lekure Udand Jaali(2012), Lagnachi Bedi(2012) and recently Zalaach Pahije(2013).
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Katyar Kaljat Ghusli: A Musical milestone in Indian Cinema
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2018-02-09T01:33:00+05:30
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By Kartik Lokhande A classic survives the tides of time, and storms of commercialisation. And, the latest Marathi movie ‘Katyar Kaljat G...
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By Kartik Lokhande
A classic survives the tides of time, and storms of commercialisation. And, the latest Marathi movie ‘Katyar Kaljat Ghusli’ has proven this. Based on the musical drama of the same name, which is a milestone in Indian theatre, the movie has been made so finely that it also is set to become a milestone in Indian Cinema.
Already, the movie has been showcased in International Film Festival, and is in the race for UNESCO’s coveted Fellini medal. Talking of commerce, this celluloid masterpiece with opulent sets and musical extravaganza has forced even the multiplexes to increase number of shows and days. In fact, in Nagpur, on Monday afternoon too, there was a long queue at a multiplex to buy tickets for the show of ‘Katyar Kaljat Ghusli’. This speaks of how well a quality cinema is received by audiences.
The movie has a special connection with Nagpur. For, it is associated with two legends -- Purushottam Darwhekar aka ‘Master’, an acclaimed playwright-lyricist-director known for perfection; and Classical vocalist Pt Vasantrao Deshpande, after whom Nagpur’s famous auditorium is named. The original drama of the 1960s had performances of Pt Vasantrao Deshpande, Pt Jitendra Abhisheki and had raised the bar for Indian theatre, with magical touch of Prabhakar Panshikar, pioneer of revolving sets. After several years, noted Marathi actor Subodh Bhave revived the drama, and now he has brought it to the silver screen in an accomplished manner.
‘Katyar...’ is the story revolving around rivalry of ‘Gharanas’ in the world of music. Vishnuraj, the King of Vishrampur in Central India, gets made a beautifully carved ‘Katyar’ (dagger) to be given as an award to the winner of a music competition. Pt Bhanushankar Shastri (Shankar Mahadevan) is a royal singer revered for his sheer devotion to music. He floats the idea of competition to bring out the best in music. He meets Aftab Hussain Bareliwale (Sachin Pilgaonkar) at Miraj, and impressed with the latter’s Classical vocal performance, brings him to Vishrampur. Panditji fondly calls this new friend Khan Sahab, and gets his child admitted to a Sanskrit school, gets him a home, and sends pleasantries on festive occasions. Nabila (Sakshi Tanwar) passes acidic remarks at her husband Khan Sahab, for accepting ‘crumbs’ from royal singer.
As a result, Khan Sahab enters into competition. He sings aggressively while Pt Shastri focusses on pure and soulful rendition. Khan Sahab gets loud applause but Panditji gets soothing silence and tears in eyes of audience as appreciation. In the contest between rhythm and soul, soul prevails. Khan Sahab tries to defeat Panditji for 13 years, but fails and turns acerbic. He wants to win by hook or by crook. In 14th attempt, Khan Sahab wins as Panditji chooses to remain silent -- not to sing or say a word in the royal court. Khan Sahab becomes royal singer, a dream come true. Khan Sahab wins the coveted dagger. With the ‘Katyar’, he earns the right to use it to kill a man in self-defence, with total pardon from the King.
Years pass by, Panditji leaves Vishrampur with his daughter Uma (Mrunmayee Deshpande). Khan Sahab gets mansion of royal singer and lives there with his daughter Zareena (Amruta Khanvilkar). Khan Sahab divorces his wife, earns accolades but loses his daughter’s respect for him, gets gifts but loses blessings of good relations, reaches height of fame but loses something deep within. And, then comes Sadashiv Gurav (Subodh Bhave), a sincere disciple of Panditji. He has only one wish -- masters appreciating him with words, “Jeete Raho, Gaate Raho (live long, keep singing).”
What happens then? Does Sadashiv avenge the insult of his ‘guru’ by defeating mighty Khan Sahab? Why does Khan Sahab divorce his wife? Does Khan Sahab use the ‘Katyar’? Is there a defeat of ego and triumph of art? For this to unfold beautifully on silver screen, you must watch the wonder of a movie.
‘Katyar Kaljat Ghusli’ is about every aspect of human emotions -- honesty, pursuit of excellence, devotion, purity of soul, aberration, betrayal, travails, struggle, defeat, triumph, relations. And, it is also about the philosophy of art summed up beautifully in popular song ‘Sur Niragas Ho...’ (Let music be pure). The directorial debut of Subodh Bhave, and acting debut of highly acclaimed versatile singer Shankar Mahadevan is packed with 21 renditions of 17 songs. And, what a masterpiece has Bhave given to the world of cinema in his debut directorial venture!
Subodh Bhave is excellent in his effort and has proven that a committed actor could be a very fine director. He has captured the richness of sets, beauty of designs, aesthetics of frames, expressions of actors, and ‘something extra’ conveyed by the music so well. Kudos to Shankar Mahadevan for not only a divine voice, but also superb acting for portraying various nuances of the character of Panditji. Shankar-Ehsaan-Loy have made wonderful additions to the original music score by legendary Pt Jitendra Abhisheki. And, Sachin Pilgaonkar has delivered the finest performance of his long-spanning career while portraying the character of Urdu-speaking Khan Sahab. Sakshi Tanwar, Amruta Khanvilkar, Mrunmayee Deshpande, Pushkar Shrotri also deserve appreciation for playing their parts very well.
Prakash Kapadia has written the screenplay, and has transformed the drama into the movie quite wonderfully. There are some dialogues that make their mark viz. Art comes from within, learning is acquired from outside; (Musical) notes are tender as well as piercing.
Though all have delivered splendid performances, the real hero of the movie is music. It grows on you beyond the cinema hall. Sur Niragas Ho..., Dil ki Tapish..., Ghei Chhand Makarand..., Surat Piya Ki..., Tejonidhi Lohgol... are exceptional. Also melodious are fast numbers like Yaar Ilahi... (qawwali) and Bhola Bhandari... The voices of Shankar Mahadevan, Rahul Deshpande, Mahesh Kale, Arijit Singh cannot be forgotten.
Thank you late Purushottam Darwhekar and late Pt Jitendra Abhisheki for leaving us the heritage of ‘Katyar Kaljat Ghusli’. And, thank you, Subodh Bhave and Shankar Mahadevan for delivering a masterpiece and proving that a Classic is immortal.
(03-12-15)
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Digital newsstand featuring 7000+ of the world’s most popular newspapers & magazines. Enjoy unlimited reading on up to 5 devices with 7-day free trial.
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Alchetron, The Free Social Encyclopedia
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2017-08-18T08:30:48+00:00
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Prabhakar Panshikar (Marathi ) (14 March 1931 13 January 2011) was an actor on Marathi Stage. His role as Lakhoba Lokhande in the drama To Mi Navhech is considered to be one of the most memorable roles presented so far on the Marathi stage. He was also the owner of Natyasampada, a w
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Biography
Panshikar was born into a family of Karhade Brahmin in Phanaswadi, Mumbai. His forefathers had been Sanskrit scholars with his Grandfather translating into Marathi Nighantu Ratnakar, the authoritative manual of Ayurvedic treatment. He had three brothers who were all masters of Sanskrit language. The Panshikar are originally from Goa, with their roots in the Panshi village in Pernem Taluka.
Initially, Panshikar worked and acted under the guidance of veteran Marathi drama director M.G. Rangnekar. Rangnekar gave him his break in the play To Mi Navhech by offering him the main role in 1962. The show became so popular that it was subsequently translated into other Indian languages like Gujarati and Kannada.He has to his credit the distinction of performing as an actor & producer on screen, stage and television. He formed an organization named Natyasampada and he developed local artists and launched them in cities like Pune, Mumbai, Kolhapur etc. He has spent 53 years on stage with over 8000 performances to his credit.
Personal life
Panshikar was married to Vijaya (née Kulkarni), with whom he had three children and seven grand children. His elder daughter, Janhavi Panshikar-Singh, is also an actress. She is married to TV actor Shakti Singh. Panshikar's son, Raghunandan Panshikar, is Hindustani classical singer and is a disciple of noted singer Kishori Amonkar. Raghunandan is married to Aparna Deshpande and the couple have two children. Panshikar's younger daughter, Tarangini, is a gold medallist in Sanskrit. She is married to marine engineer Narendra Khot. They have two children.
Death
Panshikar died in Pune on 13 January 2011 from cardiac arrest.
Selected plays
Bhatala Dili Osari
To Mee Navhech
Ithe Oshalla Mrutyu
Ashroonchi Zhali Phule
Thank You Mr.Glad
Jithe Gavtala Bhale Phuttat
Jwalamukhi
Selected plays as producer
Sangeet Madanachi Manjiri
Sangeet Suvarna Tula
Katyar Kaljat Ghusali
Andhar Maza Sobati
Kimayagar
Putrakameshti
"Sangeet Awagha Rang Ekachi Zaala"
"Many Happy Returns (Marathi Play)"
"Vichcha Majhi Puri Karaa"
"Varyavarchi Varaat"
"Lekure Udand Jaali"
"Lagnachi Bedi"
Honours and awards
Vishnudas Bhave Suvarnapadak
Rajarshee Shahu Suvarnapadak
Natyagaurav Puraskar
Sanget Natak Akademi Puraskar
Natasamrat Bal Gandharva Smriti Puraskar
Natashreshtha keshavrao Date Puraskar
Dr.Kashinath Ghanekar Smriti Puraskar
Natvarya Dattaram Puraskar
Acharya Atre Puraskar
Kalashri Puraskar
Uttung Puraskar
Maharashtra Gaurav Puraskar
Jagatik Marathi Parishad Puraskar
Dinanath Mangeshkar Smriti Puraskar
NatyaDarpan -'Man Of The Year'
Natasamrat Nanasaheb Phatak Smriti Puraskar
Navratna Puraskar
Ratnappa Kumbhar Puraskar
Maharashtra Bhushan Puraskar
First Jeevan Gaurav Puraskar of State Govt., Maharashtra, later this award was named Prabhakar Panshikar award.
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Mhatre: The politics of revival
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To Mee Navhech
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1962 Indian film
To Mee NavhechDirected byVinayak ChaskarWritten byAcharya AtreProduced byPradeep DalviStarringPrabhakar Panshikar
Release date
CountryIndiaLanguageMarathi
To Mee Navhech (transl. That's not me) is a classic Marathi-language play written by Acharya Atre based on the court case of Madhav Kazi, who was an active criminal during the years between 1955 and 1960.[1] Though the protagonist role has been played by many actors since its inception in 1962, the role of Lakhoba Lokhande played by Prabhakar Panshikar is the most memorable. To Mee Navhech is probably the first play in the world where the same actor has to do five completely different roles, not to merely add to novelty value or as a stunt, but because the story demands it.[2][failed verification] To Mee Navhech was also among the first Marathi plays to make use of the Revolving Stage between two scenes. This is also translated in many regional languages. The play has crossed over 3000 shows in total over a span of 52 years which itself is a record.[3]
A conman Lakhoba Lokhande is being prosecuted in the court of law for allegedly duping people, marrying women for money and essentially living multiple lives. He tries to defend his own self by asking uncomfortable questions to each witness during the cross-questioning. The entire play is set in a courtroom scene with a revolving set used for cut scenes and flashbacks.
The storyline focuses on a con Lakhoba Lokhande, who claims he is a tobacco merchant from Nipani. The drama starts with a courtroom scene in which Lakhoba Lokhande is sitting in the defendant box. He has been accused by the prosecution of swindling different persons through disguise and fraud. The prosecution lawyer presents many witnesses, most of whom are the victims of Lakhoba's embezzlement (and in some cases torture). The witnesses narrate their experiences with the defendant through flashbacks. Lakhoba runs his own case after firing his lawyer. He cross questions the witnesses and during the process pleads his innocence by saying "To Mee Navhech".
The play starts with a courtroom scene where the public prosecutor examines a witness in embezzlement case of a fraud who claims that he is a tobacco merchant Lakhoba Lokhande from Napani village.
The first witness is Sayyed Mansoor, who claims that Lakhoba Lokhande is his actually his brother Hyder who vanished from his home 12 years ago & has a wife Sultana & a kid. He tells the court that 10 years back he had submitted a bail bond of Rs. 20,000 for a case involving fraud, wherein Hyder posed as a secretary to the PM, to a simpleton clerk & took Rs. 15,000 on the pretext of securing him a plum job in the secretariat. Hyder broke the bond & ran away, forcing his brother to sell his home & other personal belongings to pay the bond money he had borrowed from a money lender. Lakhoba decides to cross-examine the witnesses himself instead of a lawyer. He shows the first witness his pierced ears, which is a Hindu ritual hence he cannot be his brother as Muslims don't follow this ritual. Lakhoba ends his cross-examination with his classic dialogue "To Mee Navhech" (I am not that person) which he repeats after completing cross-examination of each witness. He consistently holds his line of argument of mistaken identity.
Next witness is the moneylender who had lent the money for the bail bond. The money lender is a family friend of Hyder's family & identifies Lakhoba as Hyder. Lakhoba in his cross-examination brings up a lot of hidden facts like police case of fraud against him & his son & claims that he is lying in the court under duress. As usual, he ends his argument with "To Mee Navhech"
Next witness is Agnihotri who was earlier defrauded in Delhi for Rs. 15,000 as a bribe for a plum job. Lakhoba in his cross-examination first puts the witness under pressure that he had attempted to bribe a govt official which is also a crime. In the fear the witness goes back an forth in his statement, in the end, gets entangled in the argument if he has committed a crime by bribing a govt official, who in reality was a fraud.
Next witness is Sunanda Datar who identifies Lakhoba as Divakar Datar. Sunanda narrates that she first met Divakar at a marriage bureau where he posed as a sophisticated, London educated high ranking bureaucrat at Bangalore. He speaks in a British accentuated English, giving the impression that he is a very important official. He accepts the marriage proposal of Sunanda & demands dowry of Rs. 10,000 which her brother pays. The marriage is hurriedly arranged in a couple of days time by Divakar & for that reason attended by only 10-15 close relatives of Sunanda & none from Divakar's side. Later he takes her to Bangalore & they stay in a cheap hotel, he usually stays away from her on the pretext of important official work. He tells her that her brother Capt Ashok Paranjpe lives in Mangalore & he often meets him. She tells him that she is pregnant & Divakar blatantly refuses her claim saying that someone else is the father of her child.
She somehow locates the hotel room where Capt. Ashok Paranjpe is staying. She meets his wife Pramila Paranjape & narrates her side of the story, which doesn't match with his wife's story. Sunanda gets paranoid & at the same time, Capt Ashok Paranjpe appears who is in fact Divakar in disguised form & shaken to see Sunanda there. Sunanda demands to meet Divakar right now or she would go to the police, Capt Ashok somehow composes himself & gets out on the pretext of getting Divakar & returns as Divakar. Meanwhile, a police officer comes with an arrest warrant for Capt. Paranjape for fraud, Divakar dismisses him with his demeanour of high ranking official & fake ID. He disappears on the pretext of resolving the warrant. On cross-examination of Sunanda, he asks her how come she marry a person in within 2 days of meeting him for the first time, without verifying anything ending with 'To mee navmesh'.
Next witness is Pramila. On her cross-examination, she is not able to produce single evidence. Basically Ashok Paranjape had anticipated this situation & made sure there isn't single evidence like letters, photos or the priest. Next witness is Chandra Chitre, who is a widow. She is a caretaker of a local temple. Hyder arrives disguised as an ascetic by the name Radhesham Maharaj. He stays there for 6 months & wins the confidence of all the villagers. He takes her young daughter Venu to Sajjangad on the pretext of divine call & disappears (assuming he killed Venu for the jewellery).
Next witness is Inspector Dev, who had arrested him from Nagpur. He diligently produces all the evidence of his earlier disguise. Lakhoba again toes his line of mistaken identity by insisting on the point that the inspector had not seen his face before arresting him. Lakhoba produces his wife as last witness, who identifies him as Lakhoba & gives a timeline of his marriage & disappearance from home on the pretext of business which matches with the timeline of his misdemeanours. Later Lakhoba is not able to produce any evidence that he is Lakhoba or a resident of Nippani. After climatic closing arguments, the judge gives his judgement against him since his negative argument of mistaken argument is not backed by any concrete evidence.
As police his takes him away, his elder brother pleads him to ask forgives to the lord & see his wife & mother. Lakhoba disrespects him & his god, an infuriated Sayyed stabs him to death.
Character description Lakhoba Lokhande A tobacco merchant from Nipani Divakar Ganesh Datar A secret political officer of the Kingdom of Mysore Dajishastri Datar Elder brother of Divakar Datar Captain Ashok Paranjpe A Navy officer and younger brother of Divakar Datar Radheshyam Maharaj A saint
Prabhakar Panshikar
Sumeet Raghavan
Girish Oak
Sanjay Mone
Pushkar Shrotri
Dattopant Angre
Nanda Patkar
Chadrachud Vasudev
Bipin Talpade
Vasudev Date
Eran Joseph
Purushottam Bal
Kusum Kulkarni
Saroj Naik
Mandakini Bhadbhade
Bholaram Athavale
Shripad Joshi
The general tone of the narrative of "To Mee Navhech" means is rather sarcastic. Playwright Atre wanted the name "Mee To Navhech" but then Director Mo Ga Ranganekar went ahead with "To Mee Navhech" leaving Atre furious. The book is also published by same name. In that book, Atre wrote that Ranganekar did not suggest the name. Atre had already decided the name because the protagonist in the play used it many times "To Mi Navhech". The 1st show of this play was done on 8th Oct. 1962 in Delhi
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The pioneer of the Marathi theater. He laid the foundation by writing and performing the first Marathi play 'Seeta Swayamwar', on 5th Nov' 1843 as ordained by the king of Sangli.
The King, on seeing a few Kannada plays, felt like producing some in Marathi and shouldered the responsibility to Vishnudas Bhave, who ably saw it through. After losing the royal patronage, Bhave followed this profession of producing and presenting plays in Sangli, Pune and Mumbai till 1861.
The town of Sangli is therefore considered as the Mecca of the Marathi theater. The year 1843 birth-year; and 5th November is celebrated annually as the Marathi Theater Day.
The first generation actor of musical plays and an excellent singer, Moroba. Wagholikar was a minstrel (a religious singer) in his early career; who later joined a Tamasha group on being inspired by a Muslim tamasha artist named Dadu. Moroba had got a god-given gift of a very melodious and ringing voice and he was an excellent singer of the song-form called 'lavani'.
Around 1878 Moroba was under the patronage of a moneylender named Gulwe who gave Moroba 500 rupees as monthly salary. Gulwe also offered money to Annasaheb (Kirtoskar) for producing plays and allowed Moroba to join Annasaheb's drama company.
Moroba used to play Dushyanta in the musical play 'Shakuntal'. He used to sing 108 songs in it. In 'Soubhadra' he would be Arjun and looked handsome, stout and elegant in the role. Moroba had sparkling eyes and well-maintained physique.
He used to look after his own fitness and diet. He started the practice of burning 'Ood'-a fragnant incence before every show began. Moroba had invited Janglee Maharaj-a holy man, for the first show of his play 'Shakuntal'. Moroba requested Maharaj to sit in the first row, as his presence would ease out Moroba's tension.
Janglee Maharaj gave Moroba some 'Ood' and told him to burn it before the show began. Moroba burned it, mixing it with 'loban' and performed very well that evening. Since then all Marathi play performances began with this fragrant ritual.
Dinkar joined Kirloskar Natak Mandli in 1908, at the age of 7. His maternal uncle Krishnarao Kolhapure also worked in the Company since 1902. Dinkar started doing petty roles in the drama company. He used to sing well and played Bakul's role in 'Veer Tanay'.
After 1914 Dinkar went to NatyaVinod drama company and then in 1918 he joined his uncle's Balwant drama company. He used to play 'Uttar' in 'Veer Vidamban' very well. Balwant produced the play 'Bhavbandhan'on 18.10.1919.
The roles of Ghanashyam and Latika were played by Chintamanrao Kolhatkar and Master Dinanath respectively. The audiences enjoyed Dinkar's role of Kamanna greatly. The role fitted Dinkar so well that soon he was called by that pet name only.
Dinkar and Kamanna became synonymous. Dinkar continued playing the role for more than a decade and then left Balwant and worked in Hirabai Badodekar's drama group in 1933.
Dinkar earned similar fame and name in Marathi films also. He stepped onto stage once again in 1940. lnspite of not having received any formal school education, Dinkar's stage performances were always witty, humorous and full of presence of mind.
Many anecdotes of Dinkar's quick wittedness are well-known among people associated with the Marathi theatre.
Damuanna Joshi, the owner of Balmohan Sangit Mandli - a drama group of young boys once discovered Saudagar Gore alias Chhota Gandharva from the town of Koregaon. Saudagar was gifted with very soft and silken voice. Balmohan produced and presented 'Pranapratishtha' on 22nd July 1928 in Vljayanand theatre for the first time. Saudagars' heavenly voice made Damuanna Joshi to refer to him as 'Chhota Gandharva' in the play's advertisements. The title was confirmed by the immense fanfare from the audience. 'Pranapratishtha' was followed by 'Swargawar Swari' and 'Kardankal' and 'Samshay Kallol'. Chhota Gandharva playing the role of Revati simply became a legend. Damuanna took special efforts to give Chhota Gandharva training In classical singing. He appointed Bagalkotkar buva for the job. Around 1930-31 Chhota Gandharva's voice cracked for a while; but was restored after a rest of 7-8 months.
The Marathl theatre faced severe economic recession around 1932-33. Many drama companies were on the verge of crash. Fortunately, Balmohan found a new, very gOOd playwright in tile form of Acharya P. K. Atre. On 10th May 1933 Balmohan produced Atre's, 'Sashtang Namaskar' in which Chhota Gandharva played the lady part of Tripuri. Later, of course, Chhota Gandharva played male roles only.
Saudagar acted in several of Balmohan's plays viz., 'Gharabaher' , ' Bhramacha Bhopla', 'Udyacha Sansar', 'Lagnachi Bedi', 'Vande Mataram' and 'Mi Ubha Aahe'. He proved Instrumental in Balmohan's success, fame and wealth. Damuanna appointed him in his drama company to teach high-class classical music. After 1950-51, Chhota Gandharva played major roles in 5 important and famous plays entitled 'Soubhadra', 'Manapaman', 'Mruchhakatik', 'Samshay Kallol' and 'Vidyaharan' for a period of about 25 years and literally ruled the hearts of the Marathi theatre lovers. In 1981, on the Diamond Jubilee celebrations of the Marathi musical theatre, Chhota Gandharva played roles in 'Mruchhakatik' and 'Soubhadra'; and then he retired from the stage.
Balgandharva inherited his inclination towards music from father, and dramatics from lhe maternal family. In 1908, Balgandharva joined Kirloskar Natak Mandli. He acted in 'Soubhadra', Tatyasaheb Kohlhatkar's 'Veer Tanay', 'Mook Nayak', 'Mativikar' and 'Prem Shodhan'. Solely for the sake of Balgandharva's sweet, melodious voice Talyasaheb was tempted to write a musical play. Kirloskar Natak Mandli produced 'Manapaman' a musical play written by Kolhatkar with great pomp and show on 12/3/1911.
The musical compositions in this play broke away from the tradition and relying more on classical base of 'Khyal'; became greatly popular. In 1913, Balgandharva, Bodas and Tembe broke away from Kirloskar Natak Mandli and set up a new company - Gandharva Natak Mandli on 5/7/1913. Within two months only, on 3/2/1913 'Mook Nayak' was produced. On 10/12/1916 Khadlikar's musical play 'Swayamwar' was enacted on the stage.
The play earned great fame and popularity for Balgandharva. Ram Gadkari's 'Ekach Pyala' also proved to be a great 'hit'. Gandharva Natak Mandli was burdened by a huge heap of loan because of a disastrous failure of the play named 'Droupadi'.
By 1926, Balgandharva repaid the entire loan with great efforts. Around 1933, the talking film had made an entry and the fate of the Marathi theatre was in doldrums. Balgandharva closed down his drama company on 1/1/1935 and joined films. But could not put his heart into films.
Along with Goharbai, he reappeared on the stage and delighted audiences. filling the vacuum created by Bhaurao Kolhatkar's absence. Melodious singing, very good knowledge of rhythm made Balgandarva becomes a legend on the Marathi stage, which had no parallel.
Atre was a very versatile personality. He was a combination of emninent educationist, playwright, critic, journalist, well-known poet, satirist, prolific writer, screenplay writer, political leader and a very powerful orator.
The owner of Balmohan Natak Mandli, Damuanna Joshi made Atre write his first play 'Sashtang Namaskar', a fine humorous comedy, produced of 10-5-1933.
Till 1950 before Balmohan was closed down, it produced Atre's 9 plays. They were 'Sashtang Namaskar - 1933', 'Gharabaher - 1937','Bhramacha Bhopla - 1935', 'Udyacha Sansar - 1936', 'Lagnachi Bedi -1936', 'Vande Mataram - 1937', 'Mi Ubha Aahe - 1939','Jag Kay Mhanel? - 1946' and 'Panigrahan - 1946'.
In 1938, Atre wrote "Paracha Kawla' for 'Natya Kala Pravartak'. He wrote 'To Mi Navech' in 1962, which was based on the notorious Kazicourt case.
Atre started his own production company - Atre theatres and produced 'Moruchi Mavshi (1963)', 'Buva Tethe Baya (1964)', 'Mi Mantri Zalo (1966)', 'Dr Lagu (1967)', 'Preeti Sangam (1968)' and 'Brahmachari (1969)'. Atre simply ruled over the Marathi stage from 1933 to 1969.
One would not find another playwrite ruling over the stage for such a long time. Atre threw light on social evils, through his plays, criticized them and helped in social reforms. Atre's plays will be remembered forever.
Appa was a founder member of the great, old Maharashtra Nalak Mandli. He was a good actor. He would play Kank in 'Keechak Vadh' and Raghoba dada in 'Bhaubandki'. His roles of Prataprao in Kanchangadchi Mohana' and Arjun in 'Baykanche Band' were very remarkable.
The play 'Kamla', based on Mary Correll's novel 'Thelma' was produced by Maharashlta Nalak Mandli in 1911. It was a social play and hence, different from lhe mythological and historical plays of the times. In 1912, Appa set up Bharat Natak Mandli and produced 'Matsyagandha', 'Radha Madhav' and 'Jarasandh'. Appa wrote 'Shaha Shivaji' at the insitence of Keshavrao Bhosale and proved a hit.
Appa, in al, wrote 8 prose and 5 musical plays. He was a versatile director. He copied the western theatre by using grease paints for make up. He had created special costumes and headgears, which were a speciality in Chhatrapati Shivaji's times.
Another of high caliber singer in the troupe of Annasheb Kirtoskar was Balkoba Natekar. He was an asset in the cast of the musical 'Shakuntal'. Balkoba was a good singer as well as an actor. Very strong memory, amazing grasp of music as well as dramatics were the characteristics of Balkoba's contribution to the Marathi theater.
He was good at Indian classical music as well as playing musical instruments such as 'been, sarod and sitar'. He was an erudite in music. He used to play different roles in 'Shakuntal'. He used to sing the 'nandi' in Act I, play the disciple in Act II, Kanva in Act IV, Kanchuki in Act VI and Matali in act VII. In 'Soubhadra', he would play Narada and Krishna. Instead of accepting the risk of being a partner in the drama company. Balkoba worked on the salary of Rs 200/- p.m. and in 1890 on Rs 150/- p.m. as a result of deteroiration in his voice-quality.
In 1893, due to some hassles over the salary amount, Balkoba accepted retirement. He kept away from joining any other company. Instead, he continued his singing, music. performing as well as teaching.
Balkoba was one of the pioneering singers in the history of musical plays on the Marathi stage.
Annasaheb was born on 31/3/1843 at Gurfhossur in Karnataka. After having finished schooling he came to Pune and set up a drama Company, which soon had to be closed down. He worked as a teacher at Belgaum for sometime, worked in the police department for a while.
In 1880, he saw a Parsi dramatic opera and he was inspired to produce Kalidas's 'Abhidnyana Shakuntala' in Marathi on similar lines. He finished the translation of the first 4 acts in 1880, on the day of Dhanatrayodashi; 'Sangeet Shakuntal' was staged at Anandodbhav Theater in Pune.
The play had 183 songs. The moneylender Gulve from Panvel financed the play. Kirloskar's second production was 'Soubhadra' and it was an instant hit too. These two plays have really become immortal on the Marathi stage and are performed even today. Annasaheb's third, play 'Ram Rajya Viyog' was performed on 20/10/1884 for the first time.
Annasaheb Kirloskar and his play 'Sangeet Shakuntal have been milestones, as with them began the golden age of musical Marathi theater.
Annasaheb passed away on 2/11/1885
The epoch-making figure on the stage of Marathi musical plays, Bhaurao Kolhatkar, originally belonged to Badoda (Vadodara). His father was a minstrel (a Haridas -a holy singer). Bhaurao and his elder brother Apparao used to accompany their father in his temple singing. In 1882, when Bhaurao entered the profession of theatre in his 20's, he was a very good-looking young man and he had got a heavenly voice.
He was the rarest combination of beauty, sweet voice and youth, which was incarnated on the Marathi stage. That's why, when Bhaurao agreed to play the role of 'Shakuntala', 2 songs were specially composed for him.
Bhaurao could sing in a stout, gallant voice as well as soft, delicate and touching voice. The voice used to stir the audience and their emotions. Kirloskar had Bhaurao in his mind when he composed songs for 'Soubhadra'. Bhaurao had learnt all the pros and cons of 'Lavani singing' during his stay at Badoda(Vadodara).
His high-pitched voice could easily reach its highest point (tar-saptak) wijh ease. Although Bhaurao had not learnt Indian classical singing formally; he mastered all forms of singing in the company of Balkoba Natekar in Kirloskar Natak Mandli. Audiences adored Bhaurao by a favourite pet-name-'Bhavdya'.
Old-timers still remember Bhaurao in the roles of Manthara in 'Ramrajya Viyog', Charudatta in 'Mruchchakatik', Shoorsen in 'Veer Tanay' and koundinya in 'Sharda'.
The small Dinanath from the small town of Mangeshi in Goa had a very strong leaning towards music and singing. His heavenly sweet voice was God's gift. He used to sing and delight the listeners in temples, religious festivals and in short plays. He joined KirloSkar Natak Mandli at Mhapsa, in 1914.
The drama company had faced a major split recenlly as Balgandharva, Bodas and Tembe had abandoned it. Dinanath soon found a good groove in the company. The editor of the daily 'Sandesh', Kolhatkar in an advertisement of the play 'Sundopasundi' called him as 'Master Dinanath' and the appellation clicked Very well. In 1916, Dinanath excelled greatly in the role of Kinkini in Gadkari's play 'PunyaPrabhav'.
In 1917, Kirloskar's drama goup faced another split as Dinanath. Chintamanrao Kolhatkar and Krishnarao Kolhapure broke apart and set up Balwant Sangeet Mandli'. In addition to the old, popular plays, the Company produced newer plays, such as 'Janma Rahasya', 'Veer Vidamban', 'Hindi Manapman', 'Bhav Bandhan', 'Rajlaxmi', 'Ugra mangal', 'Choudave Ratna', 'Desh Kantak', 'Sanyasta Khadga', 'Gairsamaj', 'Brahmakumari' etc. It also put up Gadkari's two incomplete plays i.e. 'Raj Sanyas' and Vedyancha Bajar'.
Velour was a favorite emotion (rasa) of Dinanath. He used to play the role of Tejaswini n Veer Varnanrao's 'Ran Dundubhi' with tremendous zest. His Songs from the play 'Paravashta pash daive', 'Divya swatantrya ravi' and 'Jagi ha khas vedyancha pasara' became very popular. Batwant Natak Mandli got the rtghts to produce 'Manapaman' in 1927. Dinanath's performance of Dhairyadhar in 'Manapaman' crossed all previous boundaries of popularity and fame. He clearly broke all records of popularity set by Nanasaheb Joglekar and Keshavrao Bhosale. Dinanath revolutionised even the outward appearance of Dhairyadhar, as he used to wear four different costumes in four different acts and changed the tunes of some songs.
The attempt demanded a great effort on the part of an actor who previously did ladies' roles. Dinanath was on the apex of fame. In 1934, the organizers of the company played the gamble of closing down the company and entering the film-business. The gamble did not pay off as their film 'Krishna-Arjun Yudh' crashed miserably. Dinanath made an attempt to rasurrect the company once in 1938; but it didn't do very well in its comeback.
Dinanath was a very handsome man with a mop of thick, curly, black hair, straight nose, wide brow, and sparkling eyes and tall and slim built. This was enhanced by a heavenly sweat, ringing voice. He was emotional and fickle minded; had sharp intelligence and imagination. He was very good at playing the Sarangi and at astrology. It was his misfortune that he died a very miserable untimely and tragic death at the age of 41.
Ganpatrao is known as the king of the stage voice and diction, the best actor who enjoyed the title 'The Garrick of Maharashtra'. Poverty had made the child Ganpat sing for food. Once, he ran away and joined Kirloskar Natak Mandli.
His family brought him back. Later, he joined Krishnaji Bajaji Joshi's Shri Shahu Nagarwasi Mandli and stuck to it. Later, he became the owner of this company, which was favoured by a Pune English professor V.B.Kelkar.
Kelkar directed Agarkar's 'Vikar Vilasit' (Hamlet) for Ganpatrao. He also wrote 'Tratika' (Taming of the shrew). Ganpatrao produced 5 plays of Shakespeare on the Marathi stage. They were 'Zunzarrao' (Othello}, 'Tara' (Cymbeline), 'Kantipurche Don Gruhastha' (Two Gentlemen of Verona). 'Rana Bheemdev' based on Sheridan's 'Pizaro' became a great success. Ganpatrao's valiant speeches in the play used to send shivers in the audience.
He was also appreciated immensely in the roles of 'Manajirao'(Macbeth} and Tukaram in 'Shri Tukaram'. He also staged Shakespeare's 'Kapidhvaja' (King John} and 'Vishwamitra' (Simon of Athens). Ganpatrao Joshi and Balwantrao Jog was a pair most favourite stars fondly called 'Ganya and Balya' by the audience.
After Jog's death in 1910, Ganpatrao ran the show further for another 10 years and produced plays such as 'Vijaynagarcha Dalmalit Rajmukut', 'Panna Ratna', 'Mazi Baheen', 'Jativant Marahtha Veer' etc., but the former glory of the star was no more seen.
Ganpatrao's plays relied solely on his acting abilities and never on the other actors or settings or costumes. His performance of 'Hamlet' was admired even by Britishers. In 1922, this great actor died of .... and an era of the Marathi Theatre came to an end.
Deval was a school student in Belgaum where Annasaheb Kirloskar was a teacher. Later on, in the Marathl stage also they worked as a teacher and disciple.
They were associated with theatre in the roles of actor, playwright and drama teacher (Taleem master). Deval acted in 'Shakuntal' as Goutami and Othello in 'Othello'.
Deval's contribution is greater as a writer of plays such as 'Durga', 'Phalgunrao', 'samshay Kallol', 'Mruchhakatik', 'Shapsambhram', 'Vikramaorvashiya', 'Zunzanrao', and 'Sharda'. His social plays too enjoyed good fame.
It Is enough to say that Deval trained a disciple who is well-known as Ganpatrao Bodas.
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Kalakeya Prabhakar's Personality Unveiled: MBTI, Enneagram and More
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What 16 personality type is Kalakeya Prabhakar from India? Find out Kalakeya Prabhakar's 16 type, Enneagram, and Zodiac sign in the Soulverse, the comprehensive personality database.
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Kalakeya Prabhakar Bio
Kalakeya Prabhakar is an acclaimed Indian actor and a prominent figure in the Telugu film industry. Known for his powerful performances and captivating screen presence, he has established himself as one of the most versatile actors in the industry. Prabhakar garnered immense popularity and recognition for his portrayal of the menacing antagonist in the blockbuster film "Baahubali: The Beginning" (2015) and its sequel "Baahubali: The Conclusion" (2017). Born in India, Kalakeya Prabhakar hails from Andhra Pradesh. He made his acting debut in the Telugu film industry with the movie "Avanthi" in 2008. Though initially he played small roles, his unconventional looks and exceptional acting skills soon caught the attention of filmmakers and audiences alike. However, it was his role as the terrifying and ruthless tribal leader, Kalakeya, in the Baahubali series that catapulted him to nationwide fame. Prabhakar's portrayal of the antagonist Kalakeya in "Baahubali" was widely appreciated for his intense performance, physicality, and dialogue delivery. His portrayal of the fearsome warlord showcased his dedication and ability to immerse himself in challenging characters. Prabhakar's exceptional performance not only received critical acclaim but also earned him a massive fan following across the country. Apart from his notable performance in "Baahubali," Prabhakar has acted in several other Telugu films, showcasing his range as an actor. He has worked with some of the leading directors and actors in the Telugu film industry, further solidifying his position as a sought-after talent. With his distinctive looks and incredible acting prowess, Kalakeya Prabhakar continues to captivate audiences and establish himself as one of the most promising actors of his generation in the Indian film industry.
What 16 personality type is Kalakeya Prabhakar?
Based on the available information, it is challenging to accurately determine the specific MBTI personality type of Kalakeya Prabhakar or any individual without conducting a proper assessment. However, based on his portrayal in the movie "Baahubali: The Beginning," we can attempt to offer a speculative analysis. Kalakeya Prabhakar is depicted as a fierce and aggressive warrior, driven by a desire for power and dominance. He embodies characteristics that may align with the Extroverted Thinking (Te) function, as he appears highly goal-oriented and organized in leading his army. Additionally, his impulsive actions and lack of concern for the consequences may indicate a preference for the Perceiving (P) trait over Judging (J). This suggests that he is more spontaneous and adaptable, rather than adhering to strict rules or plans. Furthermore, Prabhakar's fierce and aggressive nature could potentially be correlated with a preference for the Introverted Feeling (Fi) or Extraverted Feeling (Fe) function. Fi types might exhibit strong internal values and individualistic behavior, adhering to their personal beliefs and perspectives. Fe types, on the other hand, may prioritize maintaining social harmony and ensuring others are taken care of. Conclusively, while it is speculative to assign a definitive MBTI type to Kalakeya Prabhakar based solely on his fictional depiction, he possibly exhibits traits that align with a Te dominant or auxiliary type, accompanied by either P or a preference for Fi/Fe. It's important to note that without more comprehensive information or a proper assessment, any attempt to assign a specific MBTI type remains conjecture at best.
Which Enneagram Type is Kalakeya Prabhakar?
Without personal knowledge or in-depth information about Kalakeya Prabhakar, it is challenging to determine his Enneagram type accurately. Furthermore, it is essential to note that the Enneagram is not a definitive or absolute tool, as individuals are complex and can exhibit traits from various Enneagram types. Nevertheless, based on general characteristics, if we were to speculate, here is one possible analysis: One potential Enneagram type that may manifest in Kalakeya Prabhakar's personality could be Type Eight, also known as "The Challenger". Type Eights are often assertive, strong-willed, and have a natural inclination towards leadership. They are typically self-confident and have a desire for control and power. Additionally, this type tends to be straightforward and value honesty and integrity. If Kalakeya Prabhakar possesses qualities such as assertiveness, a strong personality, and a natural leadership ability, it could align with the characteristics of an Eight. It is important to emphasize that this analysis is purely speculative, and to accurately determine someone's Enneagram type, it requires a comprehensive understanding of their beliefs, motivations, fears, and behaviors. Without this depth of knowledge, any conclusion would be questionable. In conclusion, without further information and analysis, it is difficult to definitively determine Kalakeya Prabhakar's Enneagram type. The Enneagram is a complex system that requires significant insight into an individual's psyche. Therefore, any suggestion made without adequate understanding would be mere conjecture.
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Profile and biography of Prabhakar Panshikar
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https://www.veethi.com/india-people/prabhakar_panshikar-profile-3225-42.htm
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Prabhakar Panshikar Biography
Prabhakar Panshikar was a noted Marathi stage actor most known for the role, Lakhoba Lokhande in the Marathi drama, To Mi Navhech. He was also the owner of Natyasampada, a drama company. Throughout his career, he has received numerous awards and honours including Sanget Natak Akademi Puraskar, Natvarya Dattaram Puraskar, Dinanath Mangeshkar Smriti Puraskar, Natasamrat Bal Gandharva Smriti Puraskar, Jagatik Marathi Parishad Puraskar and Maharashtra Gaurav Puraskar. He was the First recipient of Jeevan Gaurav Puraskar of State Govt and this award was later renamed as Prabhakar Panshikar award. Panshikar was married to Vijaya and his elder daughter, Janhavi Panshikar-Singh is also a talented actress.
Panshikar was born into a family of Sanskrit scholars in Phanaswadi, Mumbai on 14 March 1931. His ancestors are from Goa. As a stage artist, his intial works were under the guidance of veteran Marathi drama director M.G. Rangnekar. In 1962, Rangnekar gave him big break through his play, To Mi Navhech where Prabhakar received the leading role. This show became immensely popular and later translated to many other regional languages. Thus Panshikar established as a Marathi stage actor.
A few of his selected plays include - Bhatala Dili Osari , Ithe Oshalla Mrutyu, Ashrunchi Zali Phule, Thank You Mr.Glad, Jithe Gavtala Bhale Phuttat and To Mee Navhech. Under his production company Natyasampada, he has produced many successful plays like Sangeet Awagha Rang Ekachi Zaala, Many Happy Returns, Katyar Kaljat Ghusali, Lagnachi Bedi, Lekure Udand Jaali, Vichcha Majhi Puri Karaa, Sangeet Madanachi Manjiri, Sangeet Suvarna Tula, Katyar Kaljat Ghusali and Putrakameshti. Panshikar died in Pune on 13 January 2011 following a cardiac arrest. He was fully active in theater for about 50 years and had done more 8000 shows including Kannada and Gujarati as well.
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The pioneer of the Marathi theater. He laid the foundation by writing and performing the first Marathi play 'Seeta Swayamwar', on 5th Nov' 1843 as ordained by the king of Sangli.
The King, on seeing a few Kannada plays, felt like producing some in Marathi and shouldered the responsibility to Vishnudas Bhave, who ably saw it through. After losing the royal patronage, Bhave followed this profession of producing and presenting plays in Sangli, Pune and Mumbai till 1861.
The town of Sangli is therefore considered as the Mecca of the Marathi theater. The year 1843 birth-year; and 5th November is celebrated annually as the Marathi Theater Day.
The first generation actor of musical plays and an excellent singer, Moroba. Wagholikar was a minstrel (a religious singer) in his early career; who later joined a Tamasha group on being inspired by a Muslim tamasha artist named Dadu. Moroba had got a god-given gift of a very melodious and ringing voice and he was an excellent singer of the song-form called 'lavani'.
Around 1878 Moroba was under the patronage of a moneylender named Gulwe who gave Moroba 500 rupees as monthly salary. Gulwe also offered money to Annasaheb (Kirtoskar) for producing plays and allowed Moroba to join Annasaheb's drama company.
Moroba used to play Dushyanta in the musical play 'Shakuntal'. He used to sing 108 songs in it. In 'Soubhadra' he would be Arjun and looked handsome, stout and elegant in the role. Moroba had sparkling eyes and well-maintained physique.
He used to look after his own fitness and diet. He started the practice of burning 'Ood'-a fragnant incence before every show began. Moroba had invited Janglee Maharaj-a holy man, for the first show of his play 'Shakuntal'. Moroba requested Maharaj to sit in the first row, as his presence would ease out Moroba's tension.
Janglee Maharaj gave Moroba some 'Ood' and told him to burn it before the show began. Moroba burned it, mixing it with 'loban' and performed very well that evening. Since then all Marathi play performances began with this fragrant ritual.
Dinkar joined Kirloskar Natak Mandli in 1908, at the age of 7. His maternal uncle Krishnarao Kolhapure also worked in the Company since 1902. Dinkar started doing petty roles in the drama company. He used to sing well and played Bakul's role in 'Veer Tanay'.
After 1914 Dinkar went to NatyaVinod drama company and then in 1918 he joined his uncle's Balwant drama company. He used to play 'Uttar' in 'Veer Vidamban' very well. Balwant produced the play 'Bhavbandhan'on 18.10.1919.
The roles of Ghanashyam and Latika were played by Chintamanrao Kolhatkar and Master Dinanath respectively. The audiences enjoyed Dinkar's role of Kamanna greatly. The role fitted Dinkar so well that soon he was called by that pet name only.
Dinkar and Kamanna became synonymous. Dinkar continued playing the role for more than a decade and then left Balwant and worked in Hirabai Badodekar's drama group in 1933.
Dinkar earned similar fame and name in Marathi films also. He stepped onto stage once again in 1940. lnspite of not having received any formal school education, Dinkar's stage performances were always witty, humorous and full of presence of mind.
Many anecdotes of Dinkar's quick wittedness are well-known among people associated with the Marathi theatre.
Damuanna Joshi, the owner of Balmohan Sangit Mandli - a drama group of young boys once discovered Saudagar Gore alias Chhota Gandharva from the town of Koregaon. Saudagar was gifted with very soft and silken voice. Balmohan produced and presented 'Pranapratishtha' on 22nd July 1928 in Vljayanand theatre for the first time. Saudagars' heavenly voice made Damuanna Joshi to refer to him as 'Chhota Gandharva' in the play's advertisements. The title was confirmed by the immense fanfare from the audience. 'Pranapratishtha' was followed by 'Swargawar Swari' and 'Kardankal' and 'Samshay Kallol'. Chhota Gandharva playing the role of Revati simply became a legend. Damuanna took special efforts to give Chhota Gandharva training In classical singing. He appointed Bagalkotkar buva for the job. Around 1930-31 Chhota Gandharva's voice cracked for a while; but was restored after a rest of 7-8 months.
The Marathl theatre faced severe economic recession around 1932-33. Many drama companies were on the verge of crash. Fortunately, Balmohan found a new, very gOOd playwright in tile form of Acharya P. K. Atre. On 10th May 1933 Balmohan produced Atre's, 'Sashtang Namaskar' in which Chhota Gandharva played the lady part of Tripuri. Later, of course, Chhota Gandharva played male roles only.
Saudagar acted in several of Balmohan's plays viz., 'Gharabaher' , ' Bhramacha Bhopla', 'Udyacha Sansar', 'Lagnachi Bedi', 'Vande Mataram' and 'Mi Ubha Aahe'. He proved Instrumental in Balmohan's success, fame and wealth. Damuanna appointed him in his drama company to teach high-class classical music. After 1950-51, Chhota Gandharva played major roles in 5 important and famous plays entitled 'Soubhadra', 'Manapaman', 'Mruchhakatik', 'Samshay Kallol' and 'Vidyaharan' for a period of about 25 years and literally ruled the hearts of the Marathi theatre lovers. In 1981, on the Diamond Jubilee celebrations of the Marathi musical theatre, Chhota Gandharva played roles in 'Mruchhakatik' and 'Soubhadra'; and then he retired from the stage.
Balgandharva inherited his inclination towards music from father, and dramatics from lhe maternal family. In 1908, Balgandharva joined Kirloskar Natak Mandli. He acted in 'Soubhadra', Tatyasaheb Kohlhatkar's 'Veer Tanay', 'Mook Nayak', 'Mativikar' and 'Prem Shodhan'. Solely for the sake of Balgandharva's sweet, melodious voice Talyasaheb was tempted to write a musical play. Kirloskar Natak Mandli produced 'Manapaman' a musical play written by Kolhatkar with great pomp and show on 12/3/1911.
The musical compositions in this play broke away from the tradition and relying more on classical base of 'Khyal'; became greatly popular. In 1913, Balgandharva, Bodas and Tembe broke away from Kirloskar Natak Mandli and set up a new company - Gandharva Natak Mandli on 5/7/1913. Within two months only, on 3/2/1913 'Mook Nayak' was produced. On 10/12/1916 Khadlikar's musical play 'Swayamwar' was enacted on the stage.
The play earned great fame and popularity for Balgandharva. Ram Gadkari's 'Ekach Pyala' also proved to be a great 'hit'. Gandharva Natak Mandli was burdened by a huge heap of loan because of a disastrous failure of the play named 'Droupadi'.
By 1926, Balgandharva repaid the entire loan with great efforts. Around 1933, the talking film had made an entry and the fate of the Marathi theatre was in doldrums. Balgandharva closed down his drama company on 1/1/1935 and joined films. But could not put his heart into films.
Along with Goharbai, he reappeared on the stage and delighted audiences. filling the vacuum created by Bhaurao Kolhatkar's absence. Melodious singing, very good knowledge of rhythm made Balgandarva becomes a legend on the Marathi stage, which had no parallel.
Atre was a very versatile personality. He was a combination of emninent educationist, playwright, critic, journalist, well-known poet, satirist, prolific writer, screenplay writer, political leader and a very powerful orator.
The owner of Balmohan Natak Mandli, Damuanna Joshi made Atre write his first play 'Sashtang Namaskar', a fine humorous comedy, produced of 10-5-1933.
Till 1950 before Balmohan was closed down, it produced Atre's 9 plays. They were 'Sashtang Namaskar - 1933', 'Gharabaher - 1937','Bhramacha Bhopla - 1935', 'Udyacha Sansar - 1936', 'Lagnachi Bedi -1936', 'Vande Mataram - 1937', 'Mi Ubha Aahe - 1939','Jag Kay Mhanel? - 1946' and 'Panigrahan - 1946'.
In 1938, Atre wrote "Paracha Kawla' for 'Natya Kala Pravartak'. He wrote 'To Mi Navech' in 1962, which was based on the notorious Kazicourt case.
Atre started his own production company - Atre theatres and produced 'Moruchi Mavshi (1963)', 'Buva Tethe Baya (1964)', 'Mi Mantri Zalo (1966)', 'Dr Lagu (1967)', 'Preeti Sangam (1968)' and 'Brahmachari (1969)'. Atre simply ruled over the Marathi stage from 1933 to 1969.
One would not find another playwrite ruling over the stage for such a long time. Atre threw light on social evils, through his plays, criticized them and helped in social reforms. Atre's plays will be remembered forever.
Appa was a founder member of the great, old Maharashtra Nalak Mandli. He was a good actor. He would play Kank in 'Keechak Vadh' and Raghoba dada in 'Bhaubandki'. His roles of Prataprao in Kanchangadchi Mohana' and Arjun in 'Baykanche Band' were very remarkable.
The play 'Kamla', based on Mary Correll's novel 'Thelma' was produced by Maharashlta Nalak Mandli in 1911. It was a social play and hence, different from lhe mythological and historical plays of the times. In 1912, Appa set up Bharat Natak Mandli and produced 'Matsyagandha', 'Radha Madhav' and 'Jarasandh'. Appa wrote 'Shaha Shivaji' at the insitence of Keshavrao Bhosale and proved a hit.
Appa, in al, wrote 8 prose and 5 musical plays. He was a versatile director. He copied the western theatre by using grease paints for make up. He had created special costumes and headgears, which were a speciality in Chhatrapati Shivaji's times.
Another of high caliber singer in the troupe of Annasheb Kirtoskar was Balkoba Natekar. He was an asset in the cast of the musical 'Shakuntal'. Balkoba was a good singer as well as an actor. Very strong memory, amazing grasp of music as well as dramatics were the characteristics of Balkoba's contribution to the Marathi theater.
He was good at Indian classical music as well as playing musical instruments such as 'been, sarod and sitar'. He was an erudite in music. He used to play different roles in 'Shakuntal'. He used to sing the 'nandi' in Act I, play the disciple in Act II, Kanva in Act IV, Kanchuki in Act VI and Matali in act VII. In 'Soubhadra', he would play Narada and Krishna. Instead of accepting the risk of being a partner in the drama company. Balkoba worked on the salary of Rs 200/- p.m. and in 1890 on Rs 150/- p.m. as a result of deteroiration in his voice-quality.
In 1893, due to some hassles over the salary amount, Balkoba accepted retirement. He kept away from joining any other company. Instead, he continued his singing, music. performing as well as teaching.
Balkoba was one of the pioneering singers in the history of musical plays on the Marathi stage.
Annasaheb was born on 31/3/1843 at Gurfhossur in Karnataka. After having finished schooling he came to Pune and set up a drama Company, which soon had to be closed down. He worked as a teacher at Belgaum for sometime, worked in the police department for a while.
In 1880, he saw a Parsi dramatic opera and he was inspired to produce Kalidas's 'Abhidnyana Shakuntala' in Marathi on similar lines. He finished the translation of the first 4 acts in 1880, on the day of Dhanatrayodashi; 'Sangeet Shakuntal' was staged at Anandodbhav Theater in Pune.
The play had 183 songs. The moneylender Gulve from Panvel financed the play. Kirloskar's second production was 'Soubhadra' and it was an instant hit too. These two plays have really become immortal on the Marathi stage and are performed even today. Annasaheb's third, play 'Ram Rajya Viyog' was performed on 20/10/1884 for the first time.
Annasaheb Kirloskar and his play 'Sangeet Shakuntal have been milestones, as with them began the golden age of musical Marathi theater.
Annasaheb passed away on 2/11/1885
The epoch-making figure on the stage of Marathi musical plays, Bhaurao Kolhatkar, originally belonged to Badoda (Vadodara). His father was a minstrel (a Haridas -a holy singer). Bhaurao and his elder brother Apparao used to accompany their father in his temple singing. In 1882, when Bhaurao entered the profession of theatre in his 20's, he was a very good-looking young man and he had got a heavenly voice.
He was the rarest combination of beauty, sweet voice and youth, which was incarnated on the Marathi stage. That's why, when Bhaurao agreed to play the role of 'Shakuntala', 2 songs were specially composed for him.
Bhaurao could sing in a stout, gallant voice as well as soft, delicate and touching voice. The voice used to stir the audience and their emotions. Kirloskar had Bhaurao in his mind when he composed songs for 'Soubhadra'. Bhaurao had learnt all the pros and cons of 'Lavani singing' during his stay at Badoda(Vadodara).
His high-pitched voice could easily reach its highest point (tar-saptak) wijh ease. Although Bhaurao had not learnt Indian classical singing formally; he mastered all forms of singing in the company of Balkoba Natekar in Kirloskar Natak Mandli. Audiences adored Bhaurao by a favourite pet-name-'Bhavdya'.
Old-timers still remember Bhaurao in the roles of Manthara in 'Ramrajya Viyog', Charudatta in 'Mruchchakatik', Shoorsen in 'Veer Tanay' and koundinya in 'Sharda'.
The small Dinanath from the small town of Mangeshi in Goa had a very strong leaning towards music and singing. His heavenly sweet voice was God's gift. He used to sing and delight the listeners in temples, religious festivals and in short plays. He joined KirloSkar Natak Mandli at Mhapsa, in 1914.
The drama company had faced a major split recenlly as Balgandharva, Bodas and Tembe had abandoned it. Dinanath soon found a good groove in the company. The editor of the daily 'Sandesh', Kolhatkar in an advertisement of the play 'Sundopasundi' called him as 'Master Dinanath' and the appellation clicked Very well. In 1916, Dinanath excelled greatly in the role of Kinkini in Gadkari's play 'PunyaPrabhav'.
In 1917, Kirloskar's drama goup faced another split as Dinanath. Chintamanrao Kolhatkar and Krishnarao Kolhapure broke apart and set up Balwant Sangeet Mandli'. In addition to the old, popular plays, the Company produced newer plays, such as 'Janma Rahasya', 'Veer Vidamban', 'Hindi Manapman', 'Bhav Bandhan', 'Rajlaxmi', 'Ugra mangal', 'Choudave Ratna', 'Desh Kantak', 'Sanyasta Khadga', 'Gairsamaj', 'Brahmakumari' etc. It also put up Gadkari's two incomplete plays i.e. 'Raj Sanyas' and Vedyancha Bajar'.
Velour was a favorite emotion (rasa) of Dinanath. He used to play the role of Tejaswini n Veer Varnanrao's 'Ran Dundubhi' with tremendous zest. His Songs from the play 'Paravashta pash daive', 'Divya swatantrya ravi' and 'Jagi ha khas vedyancha pasara' became very popular. Batwant Natak Mandli got the rtghts to produce 'Manapaman' in 1927. Dinanath's performance of Dhairyadhar in 'Manapaman' crossed all previous boundaries of popularity and fame. He clearly broke all records of popularity set by Nanasaheb Joglekar and Keshavrao Bhosale. Dinanath revolutionised even the outward appearance of Dhairyadhar, as he used to wear four different costumes in four different acts and changed the tunes of some songs.
The attempt demanded a great effort on the part of an actor who previously did ladies' roles. Dinanath was on the apex of fame. In 1934, the organizers of the company played the gamble of closing down the company and entering the film-business. The gamble did not pay off as their film 'Krishna-Arjun Yudh' crashed miserably. Dinanath made an attempt to rasurrect the company once in 1938; but it didn't do very well in its comeback.
Dinanath was a very handsome man with a mop of thick, curly, black hair, straight nose, wide brow, and sparkling eyes and tall and slim built. This was enhanced by a heavenly sweat, ringing voice. He was emotional and fickle minded; had sharp intelligence and imagination. He was very good at playing the Sarangi and at astrology. It was his misfortune that he died a very miserable untimely and tragic death at the age of 41.
Ganpatrao is known as the king of the stage voice and diction, the best actor who enjoyed the title 'The Garrick of Maharashtra'. Poverty had made the child Ganpat sing for food. Once, he ran away and joined Kirloskar Natak Mandli.
His family brought him back. Later, he joined Krishnaji Bajaji Joshi's Shri Shahu Nagarwasi Mandli and stuck to it. Later, he became the owner of this company, which was favoured by a Pune English professor V.B.Kelkar.
Kelkar directed Agarkar's 'Vikar Vilasit' (Hamlet) for Ganpatrao. He also wrote 'Tratika' (Taming of the shrew). Ganpatrao produced 5 plays of Shakespeare on the Marathi stage. They were 'Zunzarrao' (Othello}, 'Tara' (Cymbeline), 'Kantipurche Don Gruhastha' (Two Gentlemen of Verona). 'Rana Bheemdev' based on Sheridan's 'Pizaro' became a great success. Ganpatrao's valiant speeches in the play used to send shivers in the audience.
He was also appreciated immensely in the roles of 'Manajirao'(Macbeth} and Tukaram in 'Shri Tukaram'. He also staged Shakespeare's 'Kapidhvaja' (King John} and 'Vishwamitra' (Simon of Athens). Ganpatrao Joshi and Balwantrao Jog was a pair most favourite stars fondly called 'Ganya and Balya' by the audience.
After Jog's death in 1910, Ganpatrao ran the show further for another 10 years and produced plays such as 'Vijaynagarcha Dalmalit Rajmukut', 'Panna Ratna', 'Mazi Baheen', 'Jativant Marahtha Veer' etc., but the former glory of the star was no more seen.
Ganpatrao's plays relied solely on his acting abilities and never on the other actors or settings or costumes. His performance of 'Hamlet' was admired even by Britishers. In 1922, this great actor died of .... and an era of the Marathi Theatre came to an end.
Deval was a school student in Belgaum where Annasaheb Kirloskar was a teacher. Later on, in the Marathl stage also they worked as a teacher and disciple.
They were associated with theatre in the roles of actor, playwright and drama teacher (Taleem master). Deval acted in 'Shakuntal' as Goutami and Othello in 'Othello'.
Deval's contribution is greater as a writer of plays such as 'Durga', 'Phalgunrao', 'samshay Kallol', 'Mruchhakatik', 'Shapsambhram', 'Vikramaorvashiya', 'Zunzanrao', and 'Sharda'. His social plays too enjoyed good fame.
It Is enough to say that Deval trained a disciple who is well-known as Ganpatrao Bodas.
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Prabhakar Panshikar (Marathi: प्रभाकर पणशीकर) (14 March 1931 – 13 January 2011) also known as Pant was an actor on Marathi Stage. His character as Lakhoba Lokhande in the drama To Mi Navhech, written by Prahlad Keshav Atre is considered to be one of the immortal roles presented so far on the Marathi theatre. Five unique characters played in this drama To Mee Navhech made him famous in Marathi theatre and Maharashtra. He also performed Aurangzeb's role in a play Ithe Oshalala Mrutyu based on the death of Sambhaji Raje Bhosale. He was the owner of Natyasampada, a Marathi drama production organization.[1][2]
Biography
[edit]
Panshikar was born into a family of Karhade Brahmin in Phanaswadi, Mumbai. His forefathers had been Sanskrit scholars with his Grandfather translating into Marathi Nighantu Ratnakar, the authoritative manual of Ayurvedic treatment.[3] He had three brothers who were all masters of Sanskrit language. The Panshikar are originally from Goa, with their roots in the Panshi village in Pernem Taluka.
Prabhakar had enacted in Khotachiwadi when he spend some time at Ramji Purshottam Chawl – V.P. Road. Younger Prabhakar was engrossed in acting and theaters from his childhood. During his school days, he not just watched several famous plays from renowned theater companies, but also he performed them in Ganesha Festival at Girgaon, Mumbai. His passion towards drama took him away from family in his early teens. Later on 13 March 1955, he began his profession in Marathi Stage with a play Ranicha Baag. At the age of 25, he joined writer-director M. G. Rangnekar's organization Natyaniketan and started to act in plays like Kulwadhu, Bhumikanya Sita, Vahini, and Khadashtak.
Initially, Panshikar worked and acted under the guidance of veteran Marathi drama director M.G. Rangnekar. Rangnekar gave him his break in the play To Mi Navhech by offering him the main role in 1962. The show became so popular that it was subsequently translated into other Indian languages like Gujarati and Kannada. He has to his credit the distinction of performing as an actor & producer on screen, stage and television. He formed an organization named Natyasampada and he developed local artists and launched them in cities like Pune, Mumbai, Kolhapur, Nagpur etc. He has spent 53 years on stage with over 8000 performances to his credit.[4] Panshikar also produced very famous Marathi play Katyar Kaljat Ghusali under his organization. Based on the play a record breaking Marathi movie was released with the same name, in which famous Marathi actor Sachin Pilgaonkar and renowned singer Shankar Mahadevan played lead roles.
Personal life
[edit]
Panshikar was married to Vijaya (née Kulkarni), with whom he had three children and seven grand children. His elder daughter, Janhavi Panshikar-Singh, is also an actress. She is married to TV actor Shakti Singh. Panshikar's son, Raghunandan Panshikar, is Hindustani classical singer and is a disciple of noted singer Kishori Amonkar. Raghunandan is married to Aparna Deshpande and the couple have two children. Panshikar's younger daughter, Tarangini, is a gold medallist in Sanskrit. She is married to marine engineer Narendra Khot. They have two children.
Death
[edit]
Panshikar died in Pune on 13 January 2011 from cardiac arrest.[5][6]
Selected plays
[edit]
Bhatala Dili Osari
To Mee Navhech
Ithe Oshalla Mrutyu
Ashroonchi Zhali Phule
Thank You Mr.Glad
Jithe Gavtala Bhale Phuttat
Jwalamukhi
Selected plays as producer
[edit]
Sangeet Madanachi Manjiri
Sangeet Suvarna Tula
Katyar Kaljat Ghusali
Andhar Maza Sobati
Kimayagar
Putrakameshti
"Sangeet Awagha Rang Ekachi Zaala"
"Many Happy Returns (Marathi Play)"
"Vichcha Majhi Puri Karaa"
"Varyavarchi Varaat"
"Lekure Udand Jaali"
"Lagnachi Bedi"
Honours and awards
[edit]
Vishnudas Bhave Suvarnapadak[citation needed]
Zee Chitra Gaurav Lifetime Achievement
Rajarshee Shahu Suvarnapadak[citation needed]
Natyagaurav Puraskar[7]
Sanget Natak Akademi Puraskar[citation needed]
Natasamrat Bal Gandharva Smriti Puraskar[citation needed]
Natashreshtha keshavrao Date Puraskar[citation needed]
Dr.Kashinath Ghanekar Smriti Puraskar[citation needed]
Natvarya Dattaram Puraskar[citation needed]
Acharya Atre Puraskar[citation needed]
Kalashri Puraskar[8]
Uttung Puraskar[citation needed]
Maharashtra Gaurav Puraskar[9]
Jagatik Marathi Parishad Puraskar[citation needed]
Dinanath Mangeshkar Smriti Puraskar[citation needed]
NatyaDarpan -'Man of the Year'[citation needed]
Natasamrat Nanasaheb Phatak Smriti Puraskar[citation needed]
Navratna Puraskar[citation needed]
Ratnappa Kumbhar Puraskar[citation needed]
Maharashtra Bhushan Puraskar[citation needed]
First Jeevan Gaurav Puraskar of State Govt., Maharashtra, later this award was named Prabhakar Panshikar award.[10]
See also
[edit]
Karhade Brahmin
List of Marathi people
References
[edit]
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prabhakar panshikar and razzak ghaniwale
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2024-08-18T21:25:17.036000+00:00
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https://combo.staticflickr.com/pw/favicon.ico
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Flickr
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https://marathimovieworld.com/news/maharashtra-bhushan-prabhakar-panshikar-passes-away.php
|
en
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Maharashtra Bhushan – Prabhakar Panshikar passes away
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2011-01-13T08:46:22+00:00
|
Prabhakar Panshikar was 80 years old. Mr . Panshikar , who began his acting career in Mumbai and shot into limelight through a lead role of Lakhoba Lokhande
|
en
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/apple-touch-icon.png
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https://marathimovieworld.com/news/maharashtra-bhushan-prabhakar-panshikar-passes-away.php
|
Well-known Stage actor and Maharashtra Bhushan- Prabhakar Panshikar passed away in a Pune Hospital today. He was 80 years old. Mr. Panshikar , who began his acting career in Mumbai and shot into limelight through a lead role of Lakhoba Lokhande played by him in M.G Rangnekar’s sensational play ‘To Mee Navehch’ written by Acharya Atre. So effective was his performance that the play went on to create a record of stage shows those days. It was for the first time in Marathi dramas , a revolving stage was used for the presentation of this play.
Besides ‘To Mee Navehch’ he also performed in some of the popular plays like ‘Asrunchi Jhali Phule’, ‘Ithe Oshalala Mrityu’,’Bhatala Dilee Osari’, ‘Ithe Gavtat Bhale Phuttat’, ‘Thank you Mr. Glad’. He had also formed his own drama company ‘Natyasampada’ which produced many plays like ‘Katyar Kaljaat Ghusli’ ‘Andhaar Majha Sobti’ besides some music based plays. In all, he had appeared in 8001 shows on stage, which showed his dedication to stage. His autobiography ‘Toch Mee’ was well received among his well wishers.
Mr. Prabhakar Panshikar was blessed with a grand persona and a rich voice. He was conferred with many prestigious awards, including the Maharashtra Gaurav Puraskar, the Sangeet Natak Academy award and the Maharashtra Bhushan award for his contribution to the theatre. Marathi Movie world pays sincere tributes to his departed soul.
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http://lifeisacinemahall.com/%3Fp%3D3728
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What else is there?
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2024-05-01T14:29:48+05:30
|
reviews
|
en
|
Life Is a cinema Hall
|
https://lifeisacinemahall.com/
|
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Endowed with a delightfully distinctive voice that is at once melodious, pliable and expressive, Prof. Basavi Mukherji brings to her music a rare sensitivity and charm. With her training under celebrated performer gurus such as Pt. Kashinath Bodas of Gwalior Gharana, Pt. A. Kanan, and Padmabhushan Dr. Prabha Atre of Kirana Gharana in Khayal and Thumri over the last three decades, she has emerged as a fine performer of not only the above-mentioned forms but also of Bhajan, Geet, and Ghazal. She has been receiving intensive training in rare ragas of the GwaliorâJaipur schools from Pt. Vikas Kashalkar of Pune over the past 10 years. Besides training with her regular gurus starting with the late Bhagwan Dayal Srivastava of Kanpur, she has also benefited from her association and special classes with stalwarts like the late Pt. Nivruttibua Sarnaik, Pt. K. G. Ginde, Pt. Vinay Ch. Maudgalya, Smt. Sarala Bhide, Vidushi Girija Devi, Pt. Ram Sewak Tiwari, and Pt. Raghunath Seth. Prof. Mukerji owes her facility with Hindi and Urdu to her upbringing in Uttar Pradesh, where she topped the M.A. Music exam of Kanpur University and once again stood first in the M.Phil Music exam of SNDT Women's University, Mumbai. A graded artiste of A.I.R, Calcutta in Khayal and also an empanelled artist with the ICCR, she has performed successfully in several famous conferences and platforms of India, including Doverlane Music Conference, Kolkata; Swami Haridas Sangeet Sammelam, Mumbai, where she was awarded the title, "Sur-Mani"; Sri Kirateswar Mandir Mahotsav, Kathmandu; Maharashtra Lalit Kala Nidhi; N.C.P.A., Mumbai; The India Habitat Centre; India International Center; Gandharva Mahavidyalaya, New Delhi; Soorya Music Festival, Trivandrum; Dr. Prabha Atre Foundation, Pune; Deval Club, Kolhapur; and Prayag Sangeet Samiti Conference, Allahabad. Her performances at Auckland, Wellington and Tauranga, and other major cities of New Zealand were very well received in 2007. Her articles on various facets of music keep appearing in reputed music journals and newspapers from time to time and her maiden book, "Improvisation in Hindustani Classical Music", is under publication. A self-taught painter and published poet in Hindi and English, Prof. Mukherji is Associate Professor in Khayal and Thumri at the Tagore-founded Visva Bharati University, Santiniketan, West Bengal, India.
Shri. Subrata De is the most promising name in Sitar today. A sitarist from Bishnupur Gharana; Subrata, born in Jamshedpur (Jharkhand, India), was initiated into the art of playing Sitar at the tender age of seven under the guidance of Shri. Amarjeet Singh of Jamshedpur. Later, he was trained under late Suramani Bauri Bandhu Sethi of Bhubaneswar, where he imbibed the essential elements of Sitar. Subsequently, after 10 years of practice, he placed himself in the hands of Sitar maestro Pandit Manilal Nag of Bishnupur Gharana. He derives inspiration from his father, Shri. Bhutnath De, an exponent of vocal music cum scholar of Indian classical music. He has been awarded with the titles of Sangeet Praveen and Sangeet Bhaskar. Additionally, he has received the National Scholarship from the Ministry of Human Resource Development of the Government of India. He has also been selected on the panel of the Indian Council for Cultural Relations (ICCR) as a musician and a teacher. Further, he has been associated with the All India Radio as a graded artist since 1990. He has also worked as a sitar teacher cum performer at ICC Bangkok for ICCR from 2009 to 2011. In addition, he has released numerous audio cassettes & CDs including Meditation de la India from Peru. He is a sought-after artist globally. He has given performances in various national and international festivals. He has travelled widely and performed in numerous cities spanning over 35 countries across the world. As a solo artist and accompanist, he has dedicated himself to create and extend the environment of Indian classical music in rural areas of India as well as abroad by collaborating with leading organizations and eminent dancers, both on national and international levels.
Pandit Rupak Kulkarni is one of today's finest bansuri exponents with a style rooted in the Maihar gharana. He holds a B. A. in Political Science from Mumbai University and a Top Grade at All India Radio. He is the leading disciple of Pt. Hariprasad Chaurasia, having been accepted as the great master's disciple after rigorous early training with his father Pt. Malharrao Kulkarni. He started learning tabla at the age of two, and took up the bamboo flute soon after. he has since sought to expand his guru's pioneering approach notably by looking to the work of Surbahar legend Maa Annapurna Devi and by studying layakari. He has created new ragas, including Rang Malhar and Sonakshi, and is a very sought-after musician in world music. With concerts across the globe in many countries, he has acquired a dignified maturity in his playing at an enviably early age. His concert at "Asian Super Flautist Festival" in Japan is particularly a memorable one. In India too, Rupak has performed at almost all the prestigious music conferences. Rupak has lent his musical prowess to many melodies hitting the chart busters. He has worked with renowned music directors from Bollywood. His flute accompaniment not only for the main songs but also for the background scores of several leading films are potent enough to trigger emotions varying from pathos to exuberance. He has also collaborated with many renowned musicians from the West to create scintillating music. He enjoys teaching and advises up-coming artists to keep their minds open to outside influences. He takes deep interest in the therapeutic use of Indian music. In his words, "musical satisfaction is about becoming one with Sa".
Born in a family of music lovers, Shruti was inclined towards music from her early childhood. Along with a degree in commerce, she completed "Sangeet Alankar" from Akhil Bhartiya Gandharv Mahavidyalaya standing 1st in Sangeet Alankar all over India. She received training from well-known vocalist Pandita Shubhada Paradkar. She also received valuable guidance from Pt. Arun Kashalkar. She is 'A grade' regular performing artist of All India Radio and Doordarshan. She has performed in various National Programmes on All India Radio. Her interview was featured in a Doordarshan show "Subaha Savere". FM Gold Mumbai channel broadcast her special interview of 90 minutes duration in October 2018. She presents Gwalior, Agra, and Jaipur Gayaki with proficiency and ease. Her gayaki has many special features, like graceful tans, gliding meends, layakari, and well-knit sargams. She is equally commendable in Thumari, Tappa, Dadara, and Hori as well as Marathi devotional songs. She has a large collection of Abhangas and Gawalans (Marathi folk songs). Her audio CD "Memorable Classics" and audio cassette of Abhangas "Bhajanranga" are very well appreciated. Her lecture cum demonstration programmes on Gwalior and Agra Gharana have been well appreciated by music lovers and press. She is propagating classical, semi classical, and Marathi devotional music by mentoring talented youngsters. In addition to being an accomplished artist, she has also proved herself as a proficient Guru as well as composer. She has composed various khayals and bandishes in different raagas and taalas, which have been well appreciated by listeners. She has also invented Raag Shiva-Gauri (well-knit mix of Raag Shivaranjani and Raag Gauri). She was invited to conduct Workshop on 'Tappa' at Mumbai University for M.A. Part II students.
Born in a music loving family from Nagpur, Ms. Shubhangi Chaudhari now-known-as Mrs. Veena Shukla, is the most gifted and accomplished vocalists of Kirana Gharana from the present generation. She has already been acclaimed as a worthy torch bearer of the rich Kirana Gharana, a heritage established by the late Gayan Samrat Abdul Karim Khan Sahib. She took her first lessons in music from her Guru Smt. Tara Vilaychi and Dr. Balasaheb Purohit. Later, she had the privilege to receive Talim of Kirana Gharana from Padma Bhushan Dr. Prabha Atre, under whose guidance, she enriched her dimensions of Kirana Gharana. Important tips and training for two years from Smt. Padma Talwalkar were also very useful to her. She has passed all her music examinations in first division. She has completed her M. A. (Music) from Nagpur University and M. Phil. (Music) from S. N. D. T. University, Mumbai. She has been awarded Gold Medal for securing the highest marks in music. She has completed her Sangeet Prabhakar from Allahabad Sangeet Samiti. She is also a B+ artist on All India Radio, Mumbai. She is pursuing Sangitacharya under the guidance of Dr. Vikas Kashalkar. Her dissertation on the subject "Raga Sangeetatil Bandishinche Mahattva, Karya Ani Vyapakta" (राठसà¤à¤à¥à¤¤à¤¾à¤¤à¥à¤² बà¤à¤¦à¤¿à¤¶à¥à¤à¤à¥ महतà¥à¤µ, à¤à¤¾à¤°à¥à¤¯ à¤à¤£à¤¿ वà¥à¤¯à¤¾à¤ªà¤à¤¤à¤¾), under the guidance of Dr. K. G. Ginde, indicates her deep study in the theory of classical music. She has been endowed with melodious voice, tonal purity, clarity, and incredible virtuosity. Gifted with a commendable voice, she renders Raags with technical perfection along with Thumri, Dadra, Kajri, and other light semi-classical songs with the same flare, rare imagination, ease, and melody. Her versatility besides her mastery over Khayal music is exemplary in her singing of Bhajans, Abhangas, Natya Sangeet, Marathi Bhavgeet, and Hindi Ghazals. Her melodious voice holds her audience spell-bound in admiration. Her programs, like "Raag Ek - Rang Anek" (राठà¤à¤ - रà¤à¤ ठनà¥à¤) based on Ragas, "Kauns Ke Prakar" (à¤à¤à¤¸ à¤à¥ पà¥à¤°à¤à¤¾à¤°), "Yaman Raag - Ek Pravas" (यमन राठ- à¤à¤ पà¥à¤°à¤µà¤¾à¤¸) based on film songs, and "Kirana Gharanyatil Gayakanche Abhang Ani Bhakti Geete" (à¤à¤¿à¤°à¤¾à¤£à¤¾ à¤à¤°à¤¾à¤£à¥à¤¯à¤¾à¤¤à¥à¤² à¤à¤¾à¤¯à¤à¤¾à¤à¤à¥ ठà¤à¤à¤ à¤à¤£à¤¿ à¤à¤à¥à¤¤à¤¿à¤à¥à¤¤à¥), have been highly appreciated and applauded. She has performed out of various events, including Alladiya Khan Sangeet Samaroh, Mumbai; Akhil Bhartiya Gandharva Mahavidyalay Mandal, Vashi; and National Concert of Music, Akashwani Delhi; to name a few.
Pt. Hemant Pendse is one of the leading vocalists in the realm of Hindustani classical music. After receiving his initial training from late Shri. Manohar Betavadkar, he had the privilege of learning under none other than the great Guru, composer, and musician late Padmashri Pt. Jeetendra Abhisheki for a considerable long period of twenty years. Trained in the Gurukul system of learning, he imbibed the essence of the Jaipur-Agra Gayaki from Panditji. He has been equally fortunate to have an in-depth guidance from the doyen of Agra gharana late Pt. Babanrao Haldankar. Currently he is seeking guidance from Pt. Vikas Kashalkar of the Kirana-Gwalior tradition. Blessed with a very mellifluous voice, Hemant Pendseâs repertoire includes Khyal, Thumri, Dadra, devotional, and Marathi light music. Over a considerable period of time, he has been successful in applying the essence of his Gurusâ training while creating his own aesthetic principles in his gayaki. This is also reflected in his compositions in Khyal and devotional music. He has composed a number of bandishes in Khyal music and has given thematic concerts. He has also conceived, directed, and performed in thematic concerts, such as Abhangvarsha, Guruvandana, and Ek Radha Ek Meera. He also has several albums to his credit. His compositions have been appreciated by senior vocalists and music directors, including the noted Marathi music director, Pt. Shrinivas Khale. Popular vocalists like Smt. Devaki Pandit, Pt. Shounak Abhisheki, Pt. Sanjeev Abhyankar, and many more, have rendered his compositions in their albums and performances. He has travelled across India for his concerts and has been a regular performer in the U.S., Canada, the UAE, and Russia. He has had the privilege of performing twice in the prestigious Sawai Gandharwa Mahotsav, Pune. His ability to present every genre with ease and proficiency has made him a unanimous choice for several awards that he has received so far, the prestigious among them being the âJasraj Gourav Puraskarâ and the âManik Verma Puraskarâ. He is a B High grade vocalist and also a Grade 1 composer of A.I.R. Nevertheless, he is equally aware of his social responsibility as an artist. He is one of the few musicians that have taken up the cause of spreading awareness about classical music in the masses and has conceived of a series of concerts titled âClub Kansenâ, which aims at music appreciation of Khyal music. Another angle of his musical responsibility is to pass on the tradition of music to the next generation and has played a major role as a Guru. He is enlisted as a Guru on the panel of Lalit Kala Kendra, Pune University and has also conducted workshops regarding the same. Some of his students are now establishing themselves as musicians. In spite of achieving popularity in music and essaying the role of a performer, composer, and Guru, he is firmly rooted to ground and aspires for a deeper study in Sur and Laya.
The life journey of CA Shri. Bhushan Toshniwal serves as an inspiration to one and all. Despite having lost eyesight when he was merely 20 days old, he went on to achieve some greatness through dedication and determination, which only a very few would achieve in spite of disability. He is a child prodigy, who sang 5 raagas at the age of 5 and performed at the prestigious Savai Gandharva Mahotsav Kundgol at the age of 7, only to be blessed by Padmavibhushan Gangubai Hangal and Bharat Ratna Pt. Bhimsen Joshi. He came first in Sangeet Alankar all over India. His gurus include the likes of Padmashri Anup Jalota, Padmashri Padmaja Fenani Jogalekar, Dr. Vikas Kashalkar, Ustad Rashid Khan, and Jayalakshmi Krishnamurti. He had to face many rejections in his life as people remained sceptical about his abilities. As a result, he had to face severe hardships in terms of getting admission in schools/colleges, finding a guru for music, and finding brail/audio books for commerce stream, etc. However, only due to his strong will-power, hard work, efforts to strive for perfection, never give-up attitude, and the ability to make the best of available resources, he has managed to reach great heights in the fields of academics, music and motivational speaking. As a result, along with CA, he possesses 6 other post graduate degrees in music, business management, and insurance. He has also given motivational speeches all over India in various CA conferences, companies, and colleges. He is the winner of the reality show Takdhinadhin, and a semi-finalist at SaaReGaMaPa and Maharashtra Sangeet Ratna. He performs both Hindustani classical and Carnatik classical as well as semi-classical music. He is also a graded artist of radio and Doordarshan. He has received many awards including, Swami Vivekanand Puraskar, Swami Dayanand Saraswati Puraskar, Yuva Gaurav, Rashtra Gaurav, Dnyanaratna, Swarabhushan, and the National Role Model Award from His Excellency the President Of India.
Sangeetacharya Dr. Mohankumar Darekar is one of todayâs widely acclaimed performers, gifted with a powerful, well trained voice that traverses with ease over three octaves, while displaying perfect diction, purity in sur and a very good command over tala and laya allowing him to create complex and rhythmically very attractive tana and sargam combinations. His very personal style is a beautiful blend mainly of the Agra and Jaipur Gharanas, accented by elements of Banaras and Gwalior Gharanas - a style which, by giving expression to intense bhakti, touches the souls of all his listeners. For over 15 years he has received systematic training under his illustrious Guruji, the late Pandit Jitendra Abhisheki. For his Ph. D., he took guidance from Dr Vikas Kashalkar who, after the passing of his beloved Guruji, also gave him further instructions in the style of the Gwalior Gharana. Presently, he is taking training from Pandits Rajan and Sajan Mishra in the style of the Banaras Gharana. In addition he has also learned Dhrupad and Dhamar from Ustad Saiuddin Dagar. His highly developed sense for music rooted in his deep respect and love for music allows him to amalgamate the technical intricacies of various gharánas without violating the aesthetics of any one of these styles. While enjoying his performance, the listener feels like being carried on the wings of a dynamic music, ever changing, ever displaying newer and newer vistas of the rich beauty of Indian classical music. Not only is he a master of raaga music, but he also sings beautifully in lighter styles too, like Thumri, Dadra, Tappa, Gazal, Natyasangit, Bhavgit, and Bhajan. His style is essentially the amalgamation of Gwalior, Agra and Jaipur Gharana, as innovated by Pt. Jitendra Abhisheki. At the same time, he has included some special forms of Maestros from other gharanas. He went on to obtain Sangeet Alankar (Masters) in 1989 in Indian classical (Hindustani) music from Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai; Masters (M. A.) in 1993 in Hindustani Music from Pune Universityâs Latit Kala Kendra / Bhimsen Joshi Adhyasan; and Sangeetacharya (Doctorate) in 2002 in Indian (Hindustani) vocal classical music from Akhil Bharatiya Gandharva Mahavidyalaya Mandal (The Music School of India), Mumbai. His thesis was titled "Pt. Jitendra Abhisheki's Contributions To Indian Classical Music". He is also an accomplished teacher as his open-mindedness allows him to focus on the student's abilities that he enhances and leads to blossoming. In this way, the student's creativity is developed from peak to peak and to ever new heights. His teaching activities are not restricted to local students. Internet facilities allow his students to move to other places without loosing touch with their Guruji. Furthermore, he also arranges seminars, gives lecture demonstrations, and mentors master class students, being a recognised Guru of the University of Pune. The scholarships, awards, and honours he has received include All India Radio Vocalist - Grade A, felicitation by the Mayor of Pune for outstanding work in music, felicitation by Sangeet Unmesh, the prestigious Central Government Scholarship in Vocal Music, and the Girijabai Kelekar Scholarship, Goa. He has performed all around India in various events, including the Sawai Gandharva Music Festival, Pune; routine performances in national media (A.I.R. and Doordarshan); National Centre of Performing Arts (NCPA), Mumbai; Gharana Baithak, Delhi; and Abhisheki Smurti Mohatsav in Aurangabad, Manipal, Nashik, Panaji, Vasco, and Hyderabad. Internationally, he has performed at Surhindol, Dubai; Indian Social Club, Muscat; and Maharashtra Mandal, Abu Dhabi.
Smt. Aarti Thakur Kundalkar is an emerging talent in Hindustani classical music. She is one of the young torch bearers of 'Kirana Gharana'. Immensely interested in music since her childhood, Arati started her initial lessons in music from veteran vocalist of Kirana Gharana, late Smt. Leelatai Gharpure, at the tender age of nine. Thereafter she pursued to learn the style in depth from the well-known exponent of Kirana Gharana, Padmabhushan Dr. Prabha Atre. She has also received training under harmonium maestro and musicologist Dr. Arawind Thatte. Besides Khyal music, she has learnt the intricacies of semi-classical music forms, such as Thumari, Dadara, and Ghazal, from Dr. Sanjeev Shende. Bestowed with a melodious and deep soulful voice, which has been groomed over the years, she has been able to present classical as well as semi-classical and devotional compositions with equal intensity in all her concerts. After graduation in commerce, she completed M.A. in Music from S.N.D.T. University. She is a rank-holder of the university and has been awarded the prestigious 'Gaanhira' puraskar. She is also a Sangeet Visharad in Hindustani music from Gandharva Mahavidyala. She has been selected by Indian Council for Cultural Relations (ICCR) on the reference panel of artists. She is a graded artist of AIR for classical vocal and light music. Her performances have been well appreciated and acknowledged by veteran musicians like Pt. Bhimsen Joshi, and Pt. Firoz Dastur. Her vocal support for Dr. Prabha Atre at the Sawai Gandharva Sangeet Mahotsav has been well received. She has been training students in Hindustani classical music and semi-classical music for the last 10 years. She also teaches music online. She is on the panel of Lalit Kala Kendra (Centre for Performing Arts, Pune University) as a Guru. In recognition of her contribution to music, she has been felicitated with many coveted awards, such as Pt. Jitendra Abhisheki Yuva Puraskar by Tarangini Pratishtan; Pt. Ramkrishnabuwa Vaze Yuva Gayak Puraskar from Gandharva Mahavidyalaya, Pune; Paingankar Puraskar from Pt. Jasraj Mitra Mandal, Pune; Surmani award from Sur Singar Samsad, Mumbai; and Parundekar Puraskar at the prestigious Sawai Ghandharva Mahotsav, Pune. Her albums Aavartan and Harivandana have also been published. She has performed in prestigious programs in India and abroad.
Smt. Savita Supanekar can be considered as a rising star in the world of violin. She started learning violin at an early age and took her initial lessons from well-known violin teacher Pt. Madhukarrao Godse and completed "Sangeet Alankar" from Gandharva Mahavidyalay Mandal. Now she is learing this prestigious art of playing violin under the guidance of international violinist and renowed teacher Pt. Atulkumar Upadhye, who taught her the fine intricacies, techniques, and nuances in violin recital. She is a recognised artist of All India Radio and Doordarshan. She has given many solo performances in prestigious music festivals and given several recordings to the Film and Television Institute of India. She has to her credit many awards and accolades, the noted ones like "All India P & T Cultural Meet" held in Bombay and "Mahalaxmi-Vishwanathan Memorial Trust" held in Aurangabad. In her teenage, she got "Gunawant Yuva Kalakar Puraskar" at the hands of Bharat Ratna Pt. Bhimsen Joshi. She was selected on State Level for the National Competition of AIR. She is a versatile soloist and her repertoire reveals both depth and range. Her expositions on her delicate instrument reveals a clear, melodic line, and style. Her style is a unique combination of gayaki and tantakari techniques, which has helped in establishing violin as a complete instrument for solo performance in rich Indian classical music. She has played jugalbandi performances along with other instruments, such as flute, shehnai, dilruba, and violin. She has an equal command on classical and light classical music. She has released CDs of classical and old famous marathi and hindi songs. Considering her talent in the art of violin playing, one can observe her presenting Indian classical music through violin with proper anticipation, elaboration, and realisation of release.
Shri. Aditya Modak began his early music education under the guidance of Shri. Chandrakant Parker and Shri. Pradip Dhond. He has completed Sangeet Visharad and Sangeet Alankar from Gandharva Mahavidyalaya, and also has Masters in Indian Classical Music. He is a senior disciple of Pt. Dr. Ram Deshpande of Gwalior Gharana and has been undergoing training under the able guidance of his Guru since 2002. At the age of 5, he started learning music formally and at the same age gave his first solo performance in Mumbai. He has been extensively trained in classical vocal music as well as semi-classical forms, such as Thumri, Dadra, Tappa, Bhajan, and Marathi Natya Sangeet, for over 17 years. He has accompanied his Guru Pt. Dr. Ram Deshpande as a vocal support as well as co-staged with him in prestigious concerts all across India and internationally. Despite his young age, he has performed in hundreds of concerts of Indian classical and semi-classical vocal music across India as well as the U.S., the UAE, the U.K., Australia, Europe, and Southeast Asia. He has performed in Indian classical as well as fusion concerts with world-famous artists, like Ramakant Gaikwad, Aditya Khadnwe, Kaustuv Ganguly, Pt. Ramdas Palsule, Pandurang Pawar, Yashwant Vaishnav, Pt. Aneesh Pradhan, Pt. Kalinath Mishra, and many more. He has also earned many scholarships to his credit, which include Pt. Bhimsen Joshi Scholarship, Sawai Gandharva Scholarship, National Scholarship, and many more. He has earned many awards to his credit, which include the Chaturang Foundation Award for Hindustani Classical Music for the year 2011 awarded by the Chaturang Foundation, Dr. Shrirang Sangoram Award, Dr. Vasantrao Deshpande Award, Yuva Kalaakar Award â USA, and many more. He is extensively engaged in imparting music learning sessions to international audience through online platforms, which ensures his reach to a wider geography. Determined to spread awareness about Indian classical music in the western world, he has been giving lecture-demonstrations for various international aspirants through Zoom and Skype and even in person during his visits abroad. Formally, Aditya, a Chartered Accountant by profession, holds a Masters Degree in Accounting, Auditing and Taxation.
Pt. Sudip Chattopadhyay is one of the few performers who play a very ancient and melodious instrument, the Indian bamboo flute. He has been playing classical music with this simple but equally complicated instrument for about last 35 years. He hails from a family of musicians. Groomed under the auspices of flute maestro Pt. Gour Goswami and Pt. Debaprasad Bandopadhaya, Sudip is acknowledged to be one of the perfect exponents of Pt. Pannalal Ghosh Gharana. He holds an M.A. in Music from Rabindra Bharati University, Kolkata. He appeared for his first public performance in 1988. Since then, he has been performing regularly at various classical concerts, including the Dover Lane Periodical Music Conference, Sangeet Research Academy, Indira Kala Sangeet Sikshayatan (Madhya Pradesh), Bharatiya Bidya Bhawan (New Delhi), Rabindra Bharati Festival, Ganguly College of Music, West Bengal, Rajya Sangeet Academy - Classical Conference, and SPICMACAY, among others. He had also performed in European Countries, including the Netherland, Belgium, Germany, Switzerland, and France in organisations, such as Tropon Institute in Holland, and the Tagore Institute at Bonn, Mandapa in Paris etc. and received accolades from western audiences as well as from the European media. In 1991, he joined All India Radio as a staff and is still attached to it. He is an 'A' grade artiste of All India Radio and Doordarshan. He has performed in the National Programme of Music. His steadiness in rendition, clarity, and precision of swara are truly unique. The essence of his unique approach includes a rare combination of the raga perfectly elaborated in a gradual progression with variety of notes. His flute recital is truly a rare experience and one would surely love to hear him again and again.
Manjusha, born in Sangali, started her initial training under the guidance of Pt. Chintubuva Mhaiskar. Along with a Sangeet Visharad from Akhil Bharatiya Gandharva Mahavidyalay, Miraj, she acquired a Master's degree in Music with a Gold Medal to her credit from Shivaji University, Kolhapur. She has been a consistent winner of many prestigious music competitions. During one such competition, Sangeetacharya Pt. D. V. Kanebuva of ichalkaranji happened to see her and noticed her rich potential, which proved to be a turning point in her career. Then being in the Gurukul tradition under Pt. Kanebuva, she was fortunate to absorb the asthetic nuances of Agra and Gwalier gharana. She received further training from Dr. Vikas Kashalkar. Currently she in honing her advanced skills under the able guidance of Gantapasvi Padmashree Pt.Ulhas Kashalkar. Manjusha has carved a niche in the world of Classical Music with her mellifluous voice further enhanced by mastering sustenance of swaras, asthetic approach, creative thinking, perfection of sur and command on rhythmic aspects. Purity in exposition of raga, complex pattern of taan rendered with speed, and quality and proficiency in semi classical forms of music, like thumri, dadara, and abhang constitute her delightful performances. Under the umbrella of Sangeetacharya D. V. Kanebuva Pratishthan, Manjusha has established a Gurukul in Sangali, which follows the unique traditional legacy of nurturing and mentoring the students. Here, the students dedicatedly receive the knowledge in Guru's close proximity. The noble path of Gurukul is paved on this foundation and intends to carry on this precious tradition further. A rich portfolio of National and International concerts and prestigious awards like Ustad Bismillah Khan from Sangeet Natak Acasemy, Pt. Kumar Gandharva Rashriya Purskar from Madhya Pradesh Govt., and Pt. Basavraj Rajguru Yuva Purskar from Karnataka Govt. are a clear testimony of Manjusha's successful footsteps in the world of Music. She has a Top Grade for Classical Music of All India Radio.
Smt. Susmita Debnath Suchi comes of a representable cultural family & grown up at a cultural family atmosphere from her childhood. She received her first lesson in music from her elder sister Dr. Shuvra Debnath & her father when she was of 4 years. Then she started her learning of music fromher first guru Tapan Bhattachariya (Departed). Around that time she went to learn music at Chhayanaut Sangeet Vidyayatan. By this time, as the youngest one she got the opportunity to participate in a 4-year workshop on classical music named "Parampara" organized by Bengal Foundation under direct supervision of the renowned classical vocalist Ustad Mashkur Ali Khan and Smt. Shanti Sharma since 2001. Later on, she took taalim from Sangeet Guru Anup Barua and from Shree Asit Dey. In 2014 she got the opportunity of scholarship from Bengal Foundation and started to take taalim on hindustani classical music (vocal) training from Padmashree Pandit Ulhas Kashalkar. On the other hand she completed an 8 years institutional course from Chhayanaut Sangeet Vidyayatan where she secured 1st class 1st position in 2010 and has been continuing there as classical Music Teacher. Her cultural life is full of crowned with success. From her childhood she successful success in various national competitions on classical music like "Notun Kuri" by Bnagladesh Television, National Child Award Competition, "National Education Week" cultural competition, "National Rabindra Sangeet Sammilon Parishad", and inter school cultural competition etc. Susmita has been performing classical music in various programs organized by various organizations and institutions since 2013. She is also lucky enough to have the opportunity to perform classical music and share stage with renowned classical artists of the subcontinent. In 2015, she performed classical music at "Bengal Classical Music Festival" in Dhaka organized by Bengal Foundation and in 2017 she performed in "Chowdhury House Music Conference" organized by Calcutta Performing Arts Foundation, India. Besides these, she performed classical music in various programs organized by "Shuddha Sangeet Prasar Goshthi", "Lakshyapar Classical Music Conference", "Sanskriti Bikash Kendra", and Chhayanaut Sangeet Vidyayatan. She is an enlisted and regular Classical Vocal Artist of Bangladesh Television and Betar, Dhaka. In her educational career, she is a Masters in Management with Honors from Dhaka University.
Aditya Sharma is a classically-trained vocalist and teacher in the Hindustani music tradition of Northern India. A Ph.D. in Voice Cultivation, he has been a disciple of the renowned maestro Padmashree Pt. Ulhas Kashalkar since 2007. But Aditya's musical career began much earlier. He was born into a reputable family of musicians who recognized Aditya's innate talent. He was first initiated into the vocal discipline by his grandfather, the late Pt. Ramesh Chandra Dutt, who himself was a product of the prestigious Gandharv Mahavidyalaya at Lahore, established by Pt. Vishnu Digamber Paluskar. Aditya's training continued at home under the daily guidance of his parents who are accomplished musicians - Dr. Arvind Sharma, Professor at Panjab University and Mrs. Anita Sharma, Principal at Gandharv Mahavidyalaya, Panchkula. In 2007, he was selected by the prestigious ITC - Sangeet Research Academy in Kolkata to be one of its few residential scholars. It was here that he began his advanced training under the tutelage of Padmashree Pandit Ulhas Kashalkar, one of Indiaâs leading classical vocalist of this generation. Aditya continues to receive training from this legendary maestro. Aditya has been teaching vocal music since many years at Gandharv Mahavidyalaya, but his professional teaching career began when he was appointed as the vocal music teacher at the prestigious The Doon School in Dehradun. He continues to perform on All India Radio and at other prominent venues. In 2015, he was also awarded Ph.D. in Music on "Voice Cultivation in Hindustani Classical and Western Music. A comparative study" from Panjab University, Chandigarh. Aditya is currently based in the U.S. in San Diego, California, where he is teaching at 'Gandharva Music Academy', dedicated to promoting and teaching Hindustani Classical Music. He is also an active performer at different venues in the U.S. and India.
Born in the family of traditional legendary musicians, Smt. Apoorva Gokhale has carved a niche for herself as one of the sought after well-known vocalists of the younger generation with a firm background of Gwalior Gharana. She has an impressive musical lineage and has proudly and responsibly inherited the musical qualities from her grandfather, the late Gayanacharya Pt. Gajananrao Joshi and her great- grandfather Pt. Antubua Joshi, an eminent court musician in the erstwhile state of Aundh, district Satara. At a very tender age of five, she initially received a sound grooming from her grandfather Pt. Gajananrao Joshi, who insisted to see in her tonal perfection with just intonation and infused a keen sense of rhythm. Later on she received rigorous training in the form of guru-shishya parampara under the guidance and supervision of her uncle Pt. Madhukarrao Joshi, an eminent vocalist and violinist. Simultaneously she also received guidance from her father Shri. Manohar Joshi, her aunt Dr. Sucheta Bidkar and renowned vocalist of the same tradition, Padmashri Pt. Ulhas Kashalkar. Apoorva's versatile temperament and approach to music does not allow her to rest anywhere for she knows that there is much more far beyond from what knowledge she has acquired and imbibed in musical field and hence she must perforce fathom the oceanic depths of music. As such, she goes on seeking further able guidance from Pt. Shankar Abhyankar, an eminent sitarist and composer, Smt. Manik Bhide, Smt. Ashwini Bhide-Deshpande, Pt. Yeshwant Mahale, and Pt. Arun Kashalkar. Apoorva is influenced by the best of traditional musicians, but her approach towards presentation is all her own and that makes her music unique. She brings to Khyal singing an expression which, both lyrical and evocative at the same time, maintains the seriousness of the form, unimpaired. Her coherent presentation of khyal is an aesthetic blending of imaginative alaap, an improvisation in a sonorous and scintillating voice, gracefully weaving exquisite patterns of swaras, unfolding the image of the raga with all its beauty and dignity, combined with an innate sense of laya (rhythm). She judiciously gives equal importance to both gayaki (style) and purity of raga rendition.
Shri. Kashish Mittal is a gifted and accomplished Hindustani Classical Vocalist, representing the illustrious Agra Gharana style of music. He is recognized as an 'A Grade' artiste by the All India Radio & Doordarshan and an 'Established artiste' by the Indian Council for Cultural Relations, Government of India. Kashish is considered as one of the very promising young artistes of Agra Gharana and has carved a special place for himself in the Indian classical music scenario. He is also a former IAS officer and Computer Science graduate from IIT Delhi. Born in Jalandhar in 1989 to IPS officer Jagdish Kumar and Sangeeta Mittal, Kashish was initiated into Hindustani Classical Music at the age of eight years under Prof. Harvinder Singh. He gave his first performance at the age of eleven at the Harivallabh Sangeet Sammellan in Punjab. Kashish subsequently moved under the tutelage of Pandit Yashpaul, maestro of the Agra Gharana, as per the Guru Shishya Parampara. He underwent rigorous training under Pt. Yashpaul and learnt the fine nuances of Khayal gayaki in the Agra Gharana style of singing. Kashish completed his B.Tech. in Computer Science from the prestigious IIT Delhi and joined the coveted Indian Administrative Service (IAS) at the age of 21. However, his passion for Hindustani classical music made him pursue the performing art all along his academic years at IIT and during his tenure in the IAS. After serving in government for nine years, Kashish took a call to leave the coveted civil service to pursue his passion for Hindustani classical music. Apart from being a regular performer at the All India Radio & Doordarshan, Kashish has performed at numerous concerts all over the country, including prestigious music festivals, such as Tansen Sangeet Samaroh (Gwalior), Harivallabh Sangeet Samellan (Jalandhar), Jashn-e-Rekhta (Delhi), Raag Amir Festival (Indore), Taj Mahotsav (Agra), World Sahaja Yoga Festival (Ganpatipule), concert series by Sangeet Natak Akademi, and SPIC MACAY & IGNCA, besides prominent concerts in Mumbai, Kolkata, Chandigarh, and Patiala. Kashish's performances have evoked applause and appreciation from audiences and critics alike. In his renditions, Kashish exhibits a rich and soulful voice to build the traditional nom-tom aalap. He elaborates the vilambit khayals with poise, followed by an intricate rhythmic play of laykari, bol-bant and bol-taan, characteristic of the Agra Gharana. He also displays exceptional expertise in the use of sargams and taans to decorate the drut khayals and taranas. In addition to his Guru Pandit Yashpaul, Kashish has been deeply inspired by the stalwarts of Agra Gharana such as Ustad Vilayat Hussain Khan, Ustad Sharafat Hussain Khan, and Ustad Latafat Hussain Khan. Kashish has been conferred with numerous awards & honours including the Punjab State Award for Art & Culture by Hon'ble Chief Minister Punjab (2007), Saraswati Samman by IIT Delhi (2010), and Naad Shri Samman for significant contribution to Hindustani Classical Music (2018), among others. Kashish's journey has throughout exemplified excellence in pursuing his passion and profession. His love and belief in the power of music has enabled him to pursue his dream of carrying forward the rich musical legacy. Today, Kashish serves as an inspiration for the younger generation with his achievements both on and off stage, as he continues to enchant audiences with his soulful performances, musical genius and charismatic stage presence.
Nabanita Chowdhary, a musician par excellence, is one of the foremost Hindustani classical vocalists in India. She is an adroit artiste possessing eternally soulful blend of spiritual melody and divine aesthetics. Creativity and improvisation are the essences of her performances. She received musical guidance initially at a very tender age from her mother. Subsequently, she augmented radiance and luster to the presentation of her art under the tutelages of renowned stalwarts, such as Padma Bhushans Pandits Rajan-Sajan Misra, Padma Bhushan Vidushi (Late) Shobha Gurtu, and Pt. Deepak Chatterjee "Rasik Rang", among others, for the past four decades. She secured first position in Hindustani classical music in both B.A. and M.A. courses and also holds a Ph.D. in music. Besides being a recipient of several awards, titles, scholarships, and accolades of national and international importance, she regularly performs from All India Radio, Doordarshan, ICCR, SPICMACAY, among other platforms. The brilliance of her lies in her own distinctive blend of styles, her creativity, and a magical voice capable of expressing every emotion. Though trained basically in Khayal and Thumri-Dadra, her versatility encompasses the lighter realms of classical music, such as Sufi, Ghazal, Kajri, Chaiti, Jhula, Geet, and Bhajans. Her phenomenal presentations, "Thumris in Bharatnatyam" and "Thumris in Kuchipuri", with exponents of these dance forms have received rave reviews in India and abroad. She has also cut a deep niche for herself in Rabindra Sangeet (Hindi and Bengali), Nazrul Geeti, and Folk music. Technical mastery apart, the quality of her voice steals the hearts of her audiences and reviewers alike. Her Murkis, Gamaks, and the imagination, with which, she weaves together the clusters of notes hold her listeners spellbound. Her very pleasing yet quiet and unassuming personality and flawless renditions ooze divinity and lift the audiences to heights transcending mundane world. She has extensively performed all over in India as well as in USA, Australia, Thailand, Singapore, Malaysia, Bangladesh, Sri Lanka, Nepal, and Myanmar, among other countries, under the aegis of numerous musical organizations. When she is not performing, she generously devotes herself to teaching aspiring and talented disciples around the globe.
Vivek is among the foremost classical vocalists of Gwalior Gharana today, and has been a strong force in its growing recognition, popularity, and resurgence, all over the India and worldwide. He truly believes that when immersed in the note and raga, the self disappears and music takes on its own existence towards divinity. A versatility of performing khayal, and semi classical and lighter dimensions of music makes him one of today's upcoming and demanding vocalists of our country. Right from his parents, he was groomed into saatvik ambience of music. The journey that started from home was later blessed to seek blessings from the legends & Stalwarts of Hindustani classical music. Padma Vibhushan late Dr. Girija Devi, Padmashri Pt. Ulhas Kashalkar, Pt. Omkar Dadarkar, and Vidushi Kumudini Mundkur. In the year 2009, he was selected in the Gurukul system of Sri Satya Sai Mirpuri College of Music at Puttaparthi, Andhra Pradesh. During this period, he was trained under Vidushi Kumudini Mundkur of Bhendi Bazar Gharana, a very prominent disciple of Ustad Aman Ali Khan. While completing his initial training in vocal, he could also learn tabla from the very prominent table exponent of Punjab Gharana Pt. Nishikant Barodekar. Thereafter in 2012, he was selected as a scholar in the prestigious Gurukul of Hindustani classical music, ITC SANGEET RESEARCH ACADEMY at Kolkata. During the five years of rigorous classical training, he learnt under the direct tutelage of Padma Vibhushan late Vidushi Girija Devi, PADMASHRI Pt. Ulhas Kashalkar and Pt. Omkar Dadarkar. During this period, he could receive blessings and guidance from all the gurus of the academy, such as Pt. Ajoy Chakraborty, Ustad Mashkoor Ali khan, Vidushi Shubra Guha, late Ustad Abdul Rashid khan, late Pt. Buddhadev Dasgupta, Pt. Samar Saha, Pt. Uday Bhawalkar, Vidushi Ashwini Bhide Deshpande, and late Pt. Arun Bhaduri. He promisingly showed his applauded performances in the academy and well wishes from all the gurus and guest listeners time to time.
Rageshree is an emerging talent in the fields of Indian Classical and Semi-classical music. With an extreme passion towards the world of music and a remarkable guidance from eminent Gurus, Rageshreeâs musical journey speaks for itself. Apart from pure classical singing, she also lends her harmonic voice to an array of semi-classical genres like Thumri, Gazal, Bhajan, Natyasangeet, and Bhavgeet. Rageshree's voice is unique-deep, rich and penetrating with tremendous power, stretching over an amazingly wide range of over 3 octaves. Acknowledged as the scion of the Kirana Gharana of Hindustani Classical Music, Rageshree is one of the brightest stars of the world of classical music. Her melodious and robust voice coupled with intricate handling of ragas has won her critical acclaim, and a large following of music lovers. While Rageshree gave her first stage performance at the young age of five, she was initiated into formal training of Hindustani Classical Vocal only later at the age of nine. Fortunate to be born to a multi-talented musician Shri. Jagdev Vairagkar, Rageshree is gifted with a melodious voice, is hard-working and has the outstanding capacity to enthral the audience with her musical talent. She has been fortunate to be trained under the guidance of her uncle, the veteran vocalist Pt. Shankarrao Vairagkar (Kirana Gharana) and the leading classical vocalist Smt. Gayatri Vairagkar Joshi of Pune. She has also been receiving a valuable guidance from internationally-renowned vocalist Padmabhushan Swaryogini Dr. Prabha Atre Ji. Formally, she holds a 'Sangeet Alankar' Degree from Akhil Bharatiya Gandharv Mahavidyalaya Mandal Mumbai, M.A. in Music from the Savitribai Phule Pune University's Lalit Kala Kendra Gurukul, Pune. Though Rageshree does not confine herself to any one genre of music, her speciality lies in her breathless Alaap style. Besides training in Hindustani classical vocal, she learned Kathak under the guidance of the well-known danseuse Smt. Rekha Nadgauda, director of 'Kirti Kala Mandir'. Though her musical journey has just begun, Rageshree has achieved many rewards thus far. She was blessed to perform in the presence of honourable Surashri Lata Mangeshkar, Pt. Birju Maharaj, Pt. Suresh Talwalkar, Pt. Rakesh Chaurasia, Pt. Vijay Ghate, Vidushi Arti Ankalikar, Pt. Satyashil Deshpande, and other great mentors. She has also gained the experience of professional studio recordings.
Alick Sengupta is a gifted Indian Classical Vocalist of his age. Since childhood, he has been trained under the guidance of his father, Indian Classical Vocalist, Pt. Ashes Sengupta and also under Padmasree Pt. Ulhas Kashalkar at ITC Sangeet Research Academy Kolkata. Alick continues to perform at All India Radio and Doordarshan as a B High Grade artist, and at other prominent venues both in India and abroad, like ITC SRA Sangeet Sammelan Kolkata, NCPA Mumbai, Art Base Brussels, AIR Gorakhpur etc. In 2006, he was selected by the prestigious ITC Sangeet Research Academy in Kolkata to be one of its few students. In 2010, he completed his first concert tour in Europe. Since then, Alick has been regularly touring Europe for Concerts and Workshops on Indian Classical Music every year, which includes several countries, like Belgium, Germany, and the Netherlands. In 2011, Alick received the "The National Scholarship for Young Artist", a National Recognition and award for Excellence in Vocal Arts by Ministry of Culture, Govt. of India. He has a first class Master degree in Vocal Music from Rabindra Bharati University. In 2017, Alick has got the honour of being empaneled in the list of Musicians by Indian Council for Cultural Relations (ICCR). Alick earned top rankings in Indiaâs top classical voice competitions â National Balsree 2005, Golden Talent Contest (Pt. Ravi Kichlu Foundation), Rajya Sangeet Academy, Tagore Foundation, All India Inter School Compitition, TTIS, The Dover Lane, All India Radio Music Competition. Moreover, Alick appeared as a finalist on "Naadbhed" organised by Spic Macay and Doordarshan among thousands of vocalists across India on the year 2014. He is currently a top Grade Musician Scholar at the ITC SRA. It is here that he began his advanced training under the tutelage of Padamshree Pt. Ulhas Kashalkar, one of India's leading classical vocalists. Alick continues to receive training from his legendary Guruji.
The musical heritage initiated by Ustad Abdul Karim Khan Sahib and Ustad Abdul Wahid Khan Sahib,The doyen of Kirana Gharana has meandered through the ages and is still survived by a quite a few vocalists; Pt. Arnab Chatterjee is unambiguously identified as one of them. Arnab was born and groomed in a musical ambience amidst nature in the suburban town of Basirhat, near Kolkata. Initiated into music at the early age of five by his father Late Sangeetachariya Sree Arun Kr Chatterjee, a learned musician of the Kirana Gharana, Arnab was later groomed by none other than Late Pandit A. Kanan and Vidushi Malabika Kanan and Ustad Mashkoor Ali Khan. Arnab flowered into a young performer very early in his life. At the age of seven only he shared the platform with Ustad Amjad Ali Khan at Suresh Sangeet Sammelan,Kolkata in the year 1979. ITC S.R.A.Sangeet Sammelan `81 saw him as a nine year old performer bursting with Confidence. Securing top position in competitions has been his way of life. A recipient of the National Talent Scholarship, Arnab was awarded the gold medal along with the Degree of Sangeet Visharad by securing the first position. Being an âAâ grade artist in the item of khyal and thumri of All India Radio & Doordarshan Kolkata His Regular outstanding performances has raised high hopes among the music lovers and experts. He also performed at The National Programme of Music broadcasted at ALL INDIA RADIO. The Sursingar Samsad, Mumbai, bestowed him with the Title of `Surmani`. Arnab was an ex-scholar of ITC-SRA, KOLKATA, had joined as a faculty member in the year of 1998 and studied under the guidance of Late Pandit A Kanan and Vidushi Malabika Kanan and Ustad Mashkoor Ali Khan .He has been selected and being empanelled as an artist of Hindustani classical music(vocal) by ICCR, Govt of India. Arnab stood the first position in All India Music Competition organized by Pandit Omkarnath Thakur Sangeet Mondal, Bharuch, Gujrat in the year2002.Now he is attached with Rabindra Bharati University, Bengal Music College Under the University of Kolkata and Vishwa Varati Shantiniketan as an external Examiner of Classical Vocal Music on regular basis. BHARATIYA SANSKRITI SAMSAD, KOLKATA, awarded him as a Best vocalist for the year 2005. Arnab Chatterjee was deputed at Indira Gandhi Cultural Centre, Dhaka, Bangladesh as Hindustani Vocal Music trainer cum performer by ICCR, Govt. of India since Feb. 2010 to Feb. 2012. He has number of students at India and abroad, who are acclaimed as good performer in the field of Hindustani Classical Vocal Music. Besides his Career in Music Arnab passed the graduation in Economics from the University of Kolkata. At present Arnab is a one of the most acclaimed vocalist in the scenario of Hindustani Classical music. He is maintaining the pure tradition of Kirana Gharana with mixing the other forms of gayaki both in Khayal and Thumri with high intellectuality which makes his presentation very colorful and popular and able to established himself as a very popular vocalist of India.
Shri. Priyanshu Ghosh, a senior disciple of Pt. Devashish Dey and one of the top classical and semi-classical vocalists of his generation, has a master's degree in music from B.H.U. as well as a Sangeet Praveen from Prayag Sangeet Samiti. He graduated from Mahatma Gandhi Kashi Vidyapith, Varanasi with a degree in science. In addition to the CCRT National Scholarship Holder (2019/2020) by India's Ministry of Culture Scholarship to Young Artist, he has received Three Gold Medals and Two Memorial awards from B.H.U. in Masters. SUR SHRI has been awarded to him in 2019 by Sur Sangam Sansthan Jaipur. Shri Milap Kothari also awarded him a monetary reward of Rs. 1 Lakh. Ashwini Bhide Deshpande, a renowned Hindustani classical vocalist, presented him with a Shilpayan Praveen for his outstanding performance.
Priyanshu's performances are characterized by his depth of expression, purity of tone, the systematic development of vistaar, the highly complex yet well structured sargams, and sizzling taans, which develop and portray the emotional content of his chosen raga. Apart from khayal gayaki, Priyanshu is also an accomplished performer of romantic musical styles such as Thumri and of devotional music such as Bhajans. He has been working both online and offline as a music teacher at Shilpayan the Music Hub in Varanasi since 2018. He has not only maintained his student base but has seen a growth in their numbers due to the positive word of mouth about his patient and thorough approach to teaching Hindustani classical singing's technical and emotional aspects. His classes include both traditional and semi-classical styles of music. In addition to this, he has held a variety of seminars in locations around the nation.
His charming and charismatic style of performance has the ability to enthral the audience. He has performed all over the nation, including Mumbai, Kolkata, Ayodhya, Lucknow, Varanasi, Gorakhpur, Rourkela, Ahmedabad, Vadodara, Surat, Raipur Chhattisgarh, Prayagraj, Chandigarh, and many more. Some of the most renowned stages he has played on include Sankat Mochan, Subah-e-Banaras, and Sur-Ganga Sangeet Mahotsav, to name a few.
Born in the family of a classical vocalist, Pt. Vinod Digrajkar received his training (for so many years) in music from his father Pt. Sudhakarbua Digrajkar, Kolhapur, the city where he grew up, has been the fountainhead of the Jaipur style of singing in Maharashtra obviously Vinod went for more training in this style to Pt. Nivrittibua Sarnaik. This created in him a new desire to explore wider horizons of music and also reprieved training from Pt. Jeetendra Abhisheki. His style today brings out an aesthetic blend of all these together with his individual creativity.
He is a qualified Civil Engineer, a builder and developer by profession and has constructed more than 350 flats in Kolhapur city. Each building has named by a raag in classical music. He devotes his time equally to the pursuit of music. He is 'A' grade artist of the all India Radio for classical as well as Sugam Sangeet and given performances at a number of conferences on Radio and T.V. His repertoire includes a wide variety of less heard Raags. He is equally at ease with light music varieties like Marathi stage songs, Bhavgeets, and devotional songs.
A melodious voice, imaginative artistic perception, complex patterning of the taans in the Jaypur style are some of the major facets of his singing. Alurkar Music House at Pune has published his two cassettes. He has been awarded gold medal in All India Radio Competitions for the year 1977. He is an artist of Sangli A.I.R. and has been performing for last more than 30 years. He also performed in Sunday and Tuesday night concerts of A.I.R. Moreover he has delivered several concerts in Singapore, London, Manchester, Sidney, Melbourne, and Brisbane. Considering his contribution toward music, Kolhapur Municipal Corporation awarded him with Kolhapur Bhushan Puraskar in 2004 at the hands of Bharatratna Pt. Bhimsenji Joshi.
Dr. Uttara Chousalkar was initiated into the training on Indian classical music when she was 8 years old. Initially, she was trained by Smt. Vimal Katti and Dr. Smt. Jyotsna Mohile Rao. Later, for more than two decades, she received indepth training in Indian classical and semi-classical music and also Indian folk music from the renowned vocalist late Dr. Smt. Sushilaji Pohankar.
Dr. Uttara Chousalkar is a UGC scholar and holds a Doctorate degree in Music from the SNDT University. In 1992, she was awarded the title "Gaanhira" for securing the topmost rank in the SNDT University at the Master's of Music degree course. She is an A grade artist of All India Radio and her music is regularly telecasted on Insync Music TV Channel and Sangeet Samvaad Internet Radio. Recently, she received the Image Welfare Achievers Forum (IWAF) National Sangeet Ratna Award for her contribution in Music.
Dr. Uttara Chousalkar has performed in all major cities in India and also in some cities in the U.S. She has composed tunes for poems written by Marathi poets, including Ba. Bha. Borkar, Indira Sant, and Pu. Shi. Rege. She has worked with an NGO named QUEST and taught music to kids in Wada district of Maharashtra. "Krushnanaad", a theme-based concert featuring various genres in varied Indian languages performed by, is well-acclaimed. "Stree Sant Geeti" is another concert conceived by Dr. Uttara Chousalkar. It is a collection of abhangas written by women and the tunes composed and sung by her.
Since 2007, Dr. Uttara Chousalkar has been following the Baul Music tradition of Bengal and is the disciple of internationally acclaimed Baul Sadhika Shrimati Parvathy Baul. She is the only Baul Music performer in Maharashtra and has performed Baul Music in India and abroad. Currently, she is working on a project of translating Bengali Baul songs into Marathi while maintaining the original tunes.
An immensely talented vocalist of the Kirana gharana with a melodious and tuneful voice, Ashvini is known predominantly for her command over rhythm and for her sizeable repertoire of common as well as rare ragas. Endowed with a voice capable of expressing intensity and emotion together, enhanced with her striking diction, Ashvini likes to explore new dimensions in music. Her aesthetic approach to the lyrical content and keen sensitivity towards the emotive aspects of a composition give her performance a universal appeal. Apart from classical singing, she has equally mastered semi classical genres like Thumri, Dadra, Bhajan, etc. Her performances are marked by her command over both rhythm and melody.
Born in an artiste's family, Ashwani was introduced to music by her mother Smt. Latika V. Vyaghrambare, who herself is an accomplished classical vocalist. Her grandfather, late P. G. Sukhatme was also a stage artist in the Marathi theatre. Thereafter, Ashvini received training from the renowned sitar maestro Pt. Bimlendu Mukherjee of the Imdadkhani gharana for several years. Later, she was privileged to receive advance training from internationally known vocalist Padmabhushan Dr. Prabha Atre of Kirana gharana. Over two decades, Ashvini has been learning the advanced techniques of the Kirana gharana under her guidance.
Ashvini is a âB Highâ grade artist of All India Radio (AIR) Pune. She has also been selected for empanelment in the ICCRâs Reference Panel of Artistes. She has received the Junior Research Fellowship from CCRT Govt. Of India for Hindustani classical vocal music. She has performed in various prestigious music festivals all over the country and abroad, which have been appreciated by knowledgeable listeners and music critics. Her performances reflect style of the Kirana gharana precisely.
Ashvini is a Gold Medalist in M.A. Music from the Khairagarh University. She has won many prestigious awards, such as the Pandit Jitendra Abhisheki Yuva Gayak Puraskar given by the Tarangini Pratishthan and Aapala Parisar; Gaurav Padak given by the Pune Muncipal Corporation; Jeevan Gaurav Puraskar given by the Brihan Maharashtra Mandal Delhi; Pandit T.D. Janorikar Award by Gaanwardhan â Pune; Suramani by Sur Singar Sansad Parishad - Mumbai etc.
Ashvini was selected in the music talent competition held on 21st Dec 2002 at Vedic Heritage - New York. She is also a recipient of a scholarship from the Ministry Of Human Resource Development, Government of India - New Delhi. She topped in the AIR competition for semi-classical genre (Thumri) held in 1997.
Along with her career in music, Ashvini also had a brilliant academic career. She did her engineering in the electrical stream. Today, she is recognized as one of the top vocalists of her generation, and also as one of the torch-bearers of Kirana gharana.
Apart from delivering prestigious concerts, Ashvini has also performed in 'Alok' Series organised by Dr. Prabha Atre Foundation, based on classical and semi-classical compositions and self-composed raagas of Dr. Prabha Atre held in Mumbai. This series is available on YouTube.
Ashvini has her own music academy through which she conducts classes for Hindustani classical vocal music for students from India as well as from abroad. She has also made an online training facility available for students in India as well as abroad. She is also working as a faculty member for vocal music at the Swarmayee Gurukul of Dr. Prabha Atre. She has participated in the workshop and seminar on semi-classical music (Thumri, Dadra) organized by the Government of Goa as a coach along with Dr. Prabha Atre.
Shri. Ramakant Gaikwad is a young and exceptionally talented artist who has made a remarkable mark on the horizon of Indian Classical Vocal Music. From a very tender age of 4, Ramakant embarked on his musical journey under the guidance of his father, the esteemed Pt. Suryakant Gaikwad, his mother, Mrs. Sangita Gaikwad, and Dr. Satish Kaushik, a disciple of the late Pt. Sadashivrao Jadhav of Kirana Gharana. Additionally, he received valuable tutelage from the renowned Padmashree Pt. Jagadish Prasad, who is a disciple of Ustad Bade Ghulam Ali Khan. Currently, Ramakant is honing his skills further under the guidance of the great tabla and sitar maestro, Pt. Nayan Ghosh.
Embracing the 'Kirana' and 'Patiala' styles, which are distinct 'Gharanas,' Ramakant's musical journey began to blossom at the incredibly young age of 6 when he graced the stage with his captivating performances. His natural flair for music and impeccable musical sense earned him appreciation not only from the common listeners but also from seasoned connoisseurs of music.
Ramakant has had the privilege of showcasing his talent in several prestigious events and music festivals across India and abroad. His exceptional talent and dedication to his craft have garnered him numerous accolades and awards from respected institutions and eminent personalities in the music industry. His exceptional talent has also shined in various competitions, where he has secured first prizes in many prestigious events all over India and internationally.
Ramakant's outstanding performances and achievements are a testament to his dedication, passion, and commitment to the rich heritage of Indian classical vocal music. With a promising future ahead, he continues to enchant audiences with his soul-stirring renditions and is undoubtedly a shining star in the realm of Indian classical music.
Dr. Varada Sandesh Godbole, blessed with the gift of music in her genes, was rightly set on the track of Indian classical music at the tender age of 5 by her parents. As a child, Varada received her first sanskars (grooming) of Hindustani classical music from her Guru Smt. Lilatai Shelar. As a teenager, she was exhaustively trained in khayal gayki under the guidance of Pt. A. K. Abhyankar of Kirana Gharana for 12 years. Since last 20 years, she has been learning the nuances of Agra Gharana from Pt. Yashwant Mahale. She also received able guidance from Pt. Madhukar Joshi of Gwalior Gharana. She had the opportunity to learn Thumri from Dr. Sushilatai Pohankar. Varada was also blessed to learn and hone her skills in Natya-sangeet under the able guidance of Smt.Manik Varma and Smt. Madhuvanti Dandekar.
After this versatile grooming, diversified exposure and training of various Gharanas of Indian classical music, Varada is an established classical vocalist of repute today. She also possesses the versatility and acumen for singing and performing in the light classical genres of Natyasangeet, Abhang, Thumri, and Gazals. Her contribution as a playback singer in the film Balgandharva bears testimony to this fact.
Dr. Varada received her âSangeetacharyaâ from Akhil Bharatiya Gandharv Mahavidyalaya Mandal securing 1st rank in India along with 9 prestigious awards, including the most prestigious âPt. Vishnu Digambar Paluskar Awardâ in 2012-13. Pt. Sudheer Pote was her guide from Akhil Bhartiya Gandharva Mahavidyalay Mandal for Sangeetacharya. On the academic front, besides her devotion to classical music, a born genius Varada, was the topper of Mumbai University in arts faculty in B. A. examination and had received Chancellor Medal and a Gold Medal in Sanskrit in 1996. She also topped in M.A. Music from University of Mumbai. During her Masters in Music, she received able guidance of Dr Vidyadhar Vyas and Pt. Ajay Pohankar.
Varada has performed Hindustani classical music all over India in many prestigious music festivals. She is also an A grade artist of Aakashwani, Mumbai and has also performed on Doordarshan and National Programmes and Akashwani Sanmelan organised by AIR. She has been teaching music since last 22 years. She has conducted many workshops and lec-dem sessions regarding classical music. She is a recognised guide for Sangeetacharya exam of Akhil Bhartiya Gandharva Mahavidyalaya Mandal. She is also a recognised Guru of Bharati Vidyapeeth ,Pune and a member of Board Of Studies of Maya Dinachya Autonomous Music University.
Dr. Sudhanshu Kulkarni is on a mission, exploring and infusing divinity in harmonium with the ultimate objective of elevating this reed instrument with western origin in use as an accompanying instrument to the level of solo playing. Even though there are few others whose dedicated efforts have been well recognized and appreciated at highest levels, it is characteristically distinct approach to harmonium playing which position Dr. Sudhanshu on a different and worthy footing.
A commerce graduate and diploma holder in personal management, Dr. Sudhanshu took to music when he was ten years old with initial inspiration coming from a latent musical environment at home. He was identified as a child prodigy mix-way through his training in fundamentals of classical music including vocal and tabla under Late Appasaheb Laxman Sakhalkar. Six years later, he went into the tutelage of Pt. Rambhau K. Bijapure one of the noteworthy harmonium maestros of the time and a great 'guru' under whose able guidance Dr. Sudhanshu's musical personality was moulded. Having graduated the degree of Sangeet Alankar & Masters degree in Music from Shivaji university, Kolhapur. He has also obtained PhD in Music from Shivaji University, Kolhapur. Dr. Sudhanshu is the first in country to obtain Doctorate in Music (Sangeet Praveen) from Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai in solo harmonium under the able guidance of Pt. Narayanrao V. Patwardhan of Vadodara.
Dr. Sudhanshu's natural inclination to render solo harmonium inspired him to ensure recognition to solo harmonium playing from music lovers, connoisseurs and critics. Despite certain limitations in harmonium, it is easy to play but difficult to render in individual capacity at advance level, but through a dedicated approach and back breaking riyaz under the able taleem from his guru, his creative instinct got shaped into a highly distinguished musical repertoire, so much that he has carved a niche for himself as an eminent harmonium player and stands tall along with other renowned contemporaries. In his sincere urge to reach higher levels of musical excellence and create a new genre of harmonium players, he founded âSurel Samvadini, Samvardhanâ and running Academy of Music with present student strength of about 100.
With his fingers highly affectionate to the keys, his harmonics traverse through a gentle repertoire of Kirana Gharana where both musical melody and abstract personification of the spirit of raga finds stately statement in the emergence of true shades of swears and establishment of the raga in its sublime ambiance coalescing both the performer as well as the listener towards a meditatively musical experience the ultimate objective of music. His fluency in classical music comes through a deep involvement and understanding of both physics and philosophy of raga as well as the instrument when he is with the instrument, the reeds get poetic, statement with a degree of musical sense and all his faculties cascade into a true musical melody. His experimentation to reduce the bulk of the present conventional harmonium and using diatonic mode is a matter of convenience as it provides versatility. He believes that as an accompaniment, his role is to adore and embellish performance of the main performer on stage.
As a solo performer, his recitals are marked by pristine qualities of instrumentality with a vocal touch and very high degree of continuity throughout the raga delineation, a rare feature indeed. His vilambit compositions are essentially swara-pradhan where nuances reflect in its true essence and raga sanchar is calm in movement over a dignified treatment. While madhyalaya and drut compositions are embodiments of a fully controlled layakari and experimentation on instrumentality is well portrayed by incorporating the tonal qualities of other instruments like flute and shehanai in preference to sitar together, his harmonium provide a healing effect through most ineffable medium, worth experiencing. It is not an exaggeration that Dr. Sudhanshu is growing into an institution in himself.
Dr. Sudhanshu has accompanied great stalwarts like Dr. Gangubai Hangal, Pt. Bhimsen Joshi, Late Pt. Kumar Gandharva, Late Pt. K. G. Ginde, Pt. Prabhakar Karekar, Dr.Prabha Atre, Smt.Malini Rajurkar, Begum Parween Sultana, Smt. Padma Talwalkar, Smt. Veena Sahasrabuddhe, Ubhaygaan Vidushi Dr. Shyamala Bhave and a lot of other luminaries of Hindustani music.
Dr. Sudhanshu Kulkarni is the first in country to obtain Doctorate in Music (Sangeet Praveen) from Akhil Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai in solo harmonium under the able guidance of Pt. Narayanrao V. Patwardhan of Vadodara. He has worked as a âDirector of Indian Music and Danceâ in âKala Academy Goa. The title of Surmani was conferred upon him in the the prestigious âKal Ke Kalakar Sammelanâ organised by Sur-Singar Sansad of Mumbai in 1983. He has been awarded with âLate Pandit Appasaheb Jalgaonkar Samvadini Sadhak Puraskarâ and the title of Swara-Laya Ratna by âGanvardhanâ Pune. He has been awarded with âPt. Govindrao Tembe Snangatkar Puraskarâ from Gandharva Mahavidyalay, Pune. He has also been awarded with âPt. Mallikarjun Mansoor Puraskarâ by Ananya for his contribution to the field of Indian Classical Music. He has received âAsthan Vidwan Puraskarâ from âShri Ganapati SacchidanandAshramâ Mysore, Karnataka. Sangeet Nritya Academy bestowed him the prestigious âKALASHRIâ Award and âBandubhiyya Choughule Awardâ from Indore (M. P.). He is an empanelled artist of ICCR.
Dr. Sudhanshu has delivered his repertoire at several prestigious concerts, including Sawai Gandharva Sangeet Mahotsav, Pune, Kundgol; Swami Haridas Sammelan (Mumbai); Maharshtra Sangeet Sammelan (Goa); All India Conference of ABGMM (Belgaum); Girijatai Kelekar Sangeet Sammelan (Goa); Samrat Club, (Goa); Surashri Kesarbai Kerkar Smriti Samaroh, (Goa); Khansahib Alladiyakha Punyatithi Sammelan (Chembur); Gandharva Mahavidyalaya (Pune); Mysore Dasara Mahotsav, Mysore; Karawali Utsav, Karwar; Pune Festival, Pune; Pt. Vishnu Digambar Paluskar Jayanti Mahotsav, New Delhi; and Baba Harivallabh Sangeet Samaroha Jalandhar. His concerts abroad include India Festival, Germany; International Vocal Festival at Sweden, Canada, and the U.S.; concerts in Spain, Austria, France, Switzerland, Italy, Australia, Dubai, Qatar, and Dhaka.
Shri. Sarang Kulkarni is a multi-faceted music artiste from Belgaum. He is one of the most prominent emerging classical musicians in India. Born to scholarly musician couple â Smt. Rohini Kulkarni and Pt. Dr. Sudhanshu Kulkarni, he inherited the art of music from his parents at an early age. He got his training in Harmonium from his father Pt. Dr. Sudhanshu Kulkarni, a renowned international musician scholar and Late Pt. R. K. Bijapure of Belgaum. He mastered the art of Harmonium at a young age. Sarang has got an ear for music from his early childhood as he was moulded in the atmosphere of Swar and Taal at his home. Understanding his natural talent, his parents started training and shaping him up for the world of music from the age of four.
Sarang has accompanied several stalwart artistes such as Vidushi Shyamala Bhave,Vidushi Jayashree Patnekar, Pt. Ganapaati Bhat, Pt. Parmeshwar Hegde, Vidushi Sharvari Jemenis, Vidushi Bharati vaishampayan, Pt. Dinkar Panshikar, Pt. Narayan Bodas, Pt. Bhalchandra Nakod, Pt. Kedar Bonas, Vidushi Bharathi Prathap, Pt. Appasaheb Deshpande, Pt. Ulhas Kashalkar, Pt. Suhas Vyas, Vidushi Kalapini Komkali, Pt. Vind Digrajkar, Pt. Anand Bhate, Pt. Jayteerth Mevundi, Pt. Venkatesh Kumar, Pt. Sanjeev Abhaynkar, Pt. Vijay Koparkar, Pt. Suresh Bapat, Ustaad Aslam Khan, Pt. Shounak Abhisheki, Pt. Jayateerth Mevundi, Pt. Kaivalyakuumar Gurav, Vidushi Shalmalee Joshi, Vidushi Padma Talwalkar, Vidushi Ashwini Bhide, Vidushi Manjusha Patil, Vidushi Devaki Pandit, and many more.
Sarangâs educational qualifications include Sangeet Visharad from Akhila Bharatiya Gandharva Mahavidyalaya Mandal, Mumbai; M.A. in Harmonium from Shivaji University, Kolhapur; and MBA. His achievements in the field of music include selected for junior scholarship by the Govt. of Karnataka in 2000 (at age 16); first prize in the music competition of Ganvardhan, Pune in 2002; first prize at National Level Youth Festival held at Thiruvananthapuram, Kerala in 2003; first rank in M.A. Music (Harmonium) at Shivaji University Kolhapur in 2009; selected for the CCRT scholarship of the Govt. of India for twelve years; selected for the senior scholarship of the Ministry of Culture, Govt. of India; and selected for the junior fellowship of the Ministry of Culture, Govt. of India for the research in harmonium.
Sarangâs awards and recognitions include 2002 - Pandit Ratilal Bhavsar Smruti Puraskar at Chinchawad, Pune; 2002 - Late Smt. Leelatai Jalgaonkar Puraskar; 2006 - Samvadini Maharshi Pt. Rambhau Bijapure Award; 2008 - Swara-Jyothi Award, Mangalore; 2009 Winner of the âSAAM GURUKULâ reality show hosted by Saam TV Marathi; and 2022- Yuva Gandharva Puraskar by Durlabh Sundrivadya Kala Academy Solapur. He was interviewed on DD Sahyadri Channel in M2G2 show. Great artistes like Pt. Hridayanath Mangeshkar, Ustad Taufiq Qureshi, and Smt. Sadhana Sargam have appreciated his performance during SAAM Gurukul Reality Show.
Sarangâs prominent music concerts and performances include Dasara Mahotsav, Mysore; Pallvotsav, Mysore; Swara Sadhana Samiti, Mumbai; Pandit Rambhau Bijapure Foundation, Bengaluru; Das Naik Memorial Trust, Calicut; Dadar Matunga Curtural Centre; Ganvardhan ,Pune; Pt. Gururao Deshpande Sangeet Sabha, Bengaluru; Surel Sanvadini Sanvardhan, Belgaum; Pt.Kumar Gandharva Sangeet Mahotsav, Belgaum; and Vidushi Kesarbai Kerkart Smruti Samaroh Goa. His harmonium performance and duets with his father and other artistes at several music organizations in places include Harmonium Habba Bangalore; Harivallabh Sangeet Samaroh Jalandhar; Pt. Sudharbuva Digrajkar Smruti Samaroh Kolhapur; Pt. Bhimsen Joshi Sangeet Samaroh Sangli; Vidushi Girijatai Kelekar Smruti Samaroh Goa; Savai Gandharva Mahotsav Kundgol; Alvaâs Nudisiri Mudbidre; Rahimat Khan Punyatithi Samaroh Dharwad; Alldiyakhan Sangeet Festival Chembur; Swar Sadhana Samiti, Mumbai; and several other places like Baroda, Thiruvananthapuram, Thrissur, Dharwad, Hubballi, Mangalore, Tirupati, Mantralaya, Ganagapur, Mumbai, Nasik, Miraj, and Karwar in India as well as abroad.
Sarangâs unique contribution to music include music composition under the genre classical and fusion in the name âK. Sarangâ. He plays classical music on the keyboard. He is a founder of a NGO to promote Indian music. He also imparts the music training online and offline.
Sohini Mojumdar is a very talented vocalist of her generation. She proves her talents in khayal, semi-classical, and light classical recital. Her deep soulful voice and years of talim and riyaz combined with appealing style of presentation have won her many accolades. Her specialty is in the presentation of her style of singing with utmost imagination and slow progression of notes, elaboration and also her great skill of taans. She has whole heartedly dedicated herself to propagating the rich heritage of classical music to the culture conscious masses in India. Sohini is profoundly carrying forward the tradition of Hindustani classical and semi-classical music with purity and honesty.
Sohini was introduced to basic instruction in music by her maternal grandfather Late Rabindranath Chattaraj at the age of 4 years, with whom she got her voice trained. She started learning Indian classical music and semi-classical music from her mother Shrimati Sanghita Mojumdar, who introduced her to khayal, thumri, bhajan, etc. Later on she continued her rigorous âtalimâ in khayal from Pandit Amiya Ranjan Bandyopadhyay, a stalwart of Bishnupur Gharana from the age of 10 years. She also got inspired by semi-classical and light classical music. She is privileged to learn thumri/dadra from Vidushi Suranjana Bose for some time and lately from Vidushi Dalia Rahut, a senior disciple of Late Girija Devi. She has also received refined âtalimâ in khayal from Pandit Tushar Dutta.
Sohini has graduated with Honors in English from Calcutta University. She also holds an MBA in Human Resource Management from West Bengal University of Technology. She has completed her Masters in Classical Vocal Music from Rabindra Bharati University.
Sohini regularly performs in various concerts in India. She has already performed in many prestigious concerts and festivals around the country. Her performances are very well received and appreciated by the audiences. Some of her notable performances are Subah e Banaras, ICCR Kolkata, Khazana, Sabarna Roychoudhury Foundation, Sarbari Roy Chowdhury Foundation, Jamshedpur Music Circle, Sampuran Baithak, Srirampur Music Circle, Lahara Music Circle, Raniganj Music Circle, Sangbedana, Indian Museum (Kolkata).
Sohiniâs achievements include first position in AIR Music Competition in Bhajan, 2007; empaneled artiste of ICCR in Khayal, 2008; first position in Khayal, âRajya Sangeet Academyâ, Kolkata, 2009; winner of talent search contest organized by Dover Lane Music Academy, Thumri-2009; winner of talent search contest organized by Dover Lane Music Academy, Khayal-2009; âAâ grade artiste at All India Radio since 2011; winner of Pratima Chandra Memorial Award organized by Dover Lane Music Academy, 2016; received the âSangeet Prabhakarâ title from Prayag Sangeet Samiti Allahabad (U.P.); winner of âKhazanaâ ArtistAloud Ghazal Talent Hunt â 2019; awarded ICMC artist appreciation award â 2020; and winner of 'SAMMAN' - 2020 organized by Shankar Mahadevan Academy and Rithwik Foundation.
Dr. Alka Deo Marulkar worthy daughter and disciple of the veteran Pt. Rajabhau Deo, who has been known as an outstanding vocalist of Gwalior, Kirana, and Jaipur gharanas. Since her early childhood, she started receiving rigorous training from her father, who groomed and chiselled Alkajiâs gayaki by synthesizing the salient aesthetic qualities of the above mentioned gharanas. This intensive and expanded training for more than 35 years enabled her to visualize and analyze the raagas with various perspectives. She also received very systematic training from another veteran of Jaipur gharana, Pt. M.S. Kanetkar. Her gayaki consists of solidity of Gwalior, romanticism of Kirana, and intellectuality of Jaipur gharanas, with an added flavour of subtle rhythmic approach, towards her presentation. Her purely Purab style of Thumri, Dadra, Chaiti, Hori, and Kajri makes her a very remarkable singer of semi-classical music also. Her unique concerts have been appreciated and analyzed by the connoisseurs and ardent music lovers, throughout India and abroad along with the knowledgeable music critics through various articles in the newspapers and noted magazines.
A versatile composer in classical music, Alkaji has made enormous contribution to the world of Hindustani classical music by composing new raagas and bandishes in popular as well as complex Raagas. Her compositions, with the pen name, RASARANGA, are a good blending of aesthetics and intellect in the poetry as well as musico-rhythmic structure. She has been acknowledged by the music critics, musicologists, and artistes as an excellent orator who can fluently express the thoughts related to the abstract and subtle raagas. Some of her major contributions include Vasant Vyakhyan Mala, Musiquest, Gaanvardhan lecture series, Sawai Gandharva Samiti Shikshan Mandal, and a special concert lecture on Jaipur Gharana before the knowledgeable music lovers in Ahemadabad.
Alkaji gives special training to talented students who take music as a life-long career. She had been working as a Guru in Lalit Kala Kendra, University of Pune, for 12 years when she gave training to M.A. students with an absolute perspective for grooming them into good music academicians as well as knowledgeable performers. All of her students have excelled in this subject. She had the honour to work as the Director of Faculty of Indian Music and Dance in Kala Academy, Goa from 2002 to 2007. During her tenure, she taught post graduate and research students and has the credit to create a very innovative syllabus (titled as SAAMAD) for the students of vocal music from foundation to post graduate (research) levels, with a vision to develop young talents as good performers as well as musicologists. The syllabus was highly appreciated by the Ministry of Education, Govt. of Goa. At present she is training talented students from all over the country and the U.S. in a rigorous Gurukul tradition.
Alkaji holds the M.A. degree in English Literature; Sangeet Alankar - M. Mus (with first position in India), and Sangeetacharya (Doctor of Music). She is a research scholar in Shri Aurobindoâs epic âSavitriâ and an esteemed vocalist of All India Radio. She has been empanelled in the list of topmost artistes of India by the I.C.C.R. She was holding the prestigious post of the Director of the Faculty of Indian Music and Dance, Kala Academy, Panaji, Goa, from 2002 to 2007.
Shri. Kedar Kelkar was introduced to classical music at the age of 10 by Smt. Nanda Gokhale of Pen, Raigad. After studying classical music from Smt. Gokhale from 2004 to 2008, he started learning music from Shri. Meghntah Kolhapure. Afterwards, he started learning Gwalior Agra style from Pt. Suhas Vyas (son and disciple of the legendary vocalist Pt. C. R. Vyas). Kedarâs training with Pt. Suhas Vyas has been going on since 2013 till date.
Kedar graduated in Music from Bharati Vidyapeeth (deemed to be university) School of Performing Arts, Pune. Later on, he went on to complete Master of Arts from Bharati Vidyapeeth. He worked at âPoona Blind Girls School, Kothrud, Puneâ as a music teacher with Baithak Foundation between 2016 and 2017. He worked as a music teacher in âMuziclubâ Institute, Pune between 2018 and 2019. He has been working as a music teacher at Puneâs oldest music institution âBharat Gayan Samajâ, started by the great Bhaskarbuwa Bhakhale, since June 2022 till date. He is also working at M.E.S, Collage Of Performing Arts, Pune as Assistant Professor.
Kedar started performing in 2016. Since then, he has performed in different cities in Maharashtra on different platforms. Some of his notable performances include at âKartavya Pathâ along with his Guru Pt. Suhas Vyas and 23 other artists in the presence of Honourable Prime Minister Shri. Narendra ji Modi on the occasion of unveiling the statue of the great Netaji Shri. Subhash Chandra Bose and the inauguration of Kartavya Path at India Gate, New Delhi; offered gayan seva at Gandharva Mahavidyalaya, Pune as a tribute to legendary Painter, Writer Shri. Ravi Paranjape; presented the compositions of Late Pt. Jagannathbuva Purohit (alias Gunidas) at âGandharva Mahavidyala, Pune in a conceptual concert; performed in the âDene Gandharvancheâ program organized by Bal Gandharva Rasik Mandali, Pune on the occasion of the birth anniversary of the legendary Bal Gandharva; performed the compositions of late Padmabhushan Pt. C. R. Vyas (alias Gunijaan) in a conceptual concert at Dadar Matunga Cultural Centre; performed at the prestigious 84th Abdul Karim Khan Punyatithi Samaroha, Miraj; performed in a conceptual concert called Bandish Antakshri curated by Table Maestro Pt. Aneesh ji Pradhan at Serenditpity Arts Festival, Goa; and many more.
Kedar has received several prestigious awards, including the CITI-NCPA Scholarship for Young Musicians for 2023-2025; the musicologist, music lover (VP of Mahindra & Mahindra) âLate Shri. Nitin Ranade Smruti Puraskarâ by Nadabraamha Pariwaar of Chinchwad, Pune; Shanmukhanada Bank of Baroda, Bharatratna M. S. Subulakshmi Fellowship in Music from Shanmukhanada Fine Arts and Sangeetha Sabha, Mumbai; and Late Ushatai Mujumdar Smruti Award (initiated by the great Kathak artist Late Rohini Bhate in the music competition organized by Ganavardhan, Pune.
Shrimathi Devi P. is a Hindustani vocalist. She considers her father, Sri. Jagadish Das, a Harikatha exponent (Haridasa) and mother, Smt. Girija Bai, a singer herself, the inspiration to pursue the field of music. She has learnt under the able guidance of Late Pt. Chandrashekhar Puranikmath, the famous vocalist of Gwalior Gharana in Dharwad, took guidance from Pt. Narayan Pandit, Honnavar, the disciple of Pt. Kumar Gandharva, and later from his senior disciple Pt. Ravikiran Manipal. She has also received advanced training from Pt. Vysamurthy Katti, Bangalore and Vidushi Padma Talwalkar, Pune. Currently, she is under the tutelage of Vid. Apoorva Gokhale, Mumbai.
Shrimathi Devi P. completed her B.A. with two gold medals for securing highest marks in English. She went on to complete her M.A. with 3rd rank in English Literature. She is the recipient of the âScholarship for Young Artistesâ given by the Ministry of Culture, Govt. of India (2010-12). She was awarded the 2nd prize in All India AIR Music competitions in Hindustani vocal (2010). She was also awarded a scholarship by the Sangeetha Nrithya Academy, Govt. of Karnataka. She completed the Sangeetha Alankara exam conducted by Akhila Bharatha Gandharva Maha Mandala, Miraj, first time ever in Karnataka, with a 1st rank. She has also completed the Vidwat Examination conducted by the Govt. of Karnataka with distinction. She holds a B-high Grade of AIR in both Classical and Light Music genres. She has written many articles on music and other topics of interest for various magazines, such as Prajavani, Udayavani, and Ragadhanasgree. She has written a series of 12 articles on great musicians. At present, she is writing another series of articles on music appreciation and understanding for Ragadhanashree.
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This movie is Subodh Bhave’s third attempt at a Bio-Pic after his immensely successful Bal Gandharva n Lokmanya Ek Yugpurush. His prese...
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http://kheemapau.blogspot.com/favicon.ico
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http://kheemapau.blogspot.com/2018/11/ani-kashinath-ghanekar.html
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This is my world ; full of hot cutting chai's, warm kheema pau and chilled out friends. Subjects here can and do vary from the meaningful to the esoteric to the mundane to even the absolute inane. Whichever is your forte' whether diving in deep or doing a surface crawl...Thou art welcome here
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https://en.wikipedia.org/wiki/Raghunandan_Panshikar
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Raghunandan Panshikar
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https://en.wikipedia.org/wiki/Raghunandan_Panshikar
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Musical artist
Raghunandan Panshikar (born 1963) is a Hindustani classical vocalist. He has received training in the Jaipur gharana[1] Panshikar has established his own unique treatment to classical singing under tutelage of Kishori Aamonkar, which diverted from traditional Jaipur-Atrauli Gharana. A versatile artist, he sings semi classical forms like Bhajans, Thumris, Gazals and Natya Sangeet with panache. Recipient of several prestigious awards,Panshikar has made his mark in performances throughout India as well as in Europe, the United States and the Middle east.
Early life
[edit]
Panshikar was born into a family of Sanskrit scholars and classical musicians. He is the son of the eminent Marathi stage actor and producer Prabhakar Panshikar. Panshikar's aptitude for music was recognized and fostered from an early age. He began his formal study of music in Mumbai at the age of eleven. He learned music from the late Vasantrao Kulkarni for two years. Later he took training from the doyen of Jaipur gharana, Kishori Amonkar from the age of 17, over next 20–22 years. During this time, Raghunandan had the rare fortune to be guided by Kishori Tai's mother, Mogubai Kurdikar.
Career
[edit]
Albums as a Music Composer/Director and Vocalist Year Album/Song Label 31 December 1991 The Feminine Power Saregama 12 January 1998 Bhoopnat Niranjani Saregama 10 July 2004 Morning Mantras Vale Entertainment Ltd 10 July 2004 Chants from Himalayan Peaks Vale Entertainment Ltd 15 October 2004 Janak Thaat Bilaval Times Music 6 July 2005 Hanuman Dhun Vale Entertainment Ltd 8 July 2007 Shree Ganesh Vandana Vale Entertainment Ltd ManasPuja and Devi HMV Sa Re Ga Ma Omkaranand Darshanam Raghunandan Panshikar Omkaranand Vandanam Raghunandan Panshikar More Sawariya ( A type of fusion music) Sony Music 18 September 2008 Healing Mantras For Insomnia Times Music 26 February 2009 Inner Voice Signature Shlok by pt. Jasraj Times Music 26 February 2009 Geeta Saar Times Music 12 August 2009 Hidden Gems (Classical) Mystica Music Pvt Ltd 11 July 2012 The series of health mantra by Times Music Times Music 15 February 2013 Kabir Amrit Vani Times Music 12 March 2013 Drishti by Kishori Amonkar (1 Song) 6 December 2015 Shri Hanuman – Golden Collection Myuzic Entertainment 12 December 2015 Mahadev – Golden Collection Myuzic Entertainment 12 January 2016 Shri Gayatri Chalisa Myuzic Entertainment 16 February 2016 Tapsa Ganesh Myuzic Entertainment
Awards
[edit]
Smt.Manik Varma Puraskar
Upadhye Smriti Puraskar for contribution in Indian Classical Music
He has been awarded by Swaryogini Dr. Prabha Atre award from Gaanvardhan & Tatyasaheb Natu foundation Pune, for his significant achievements and performing career.
Achievements
[edit]
(Best Music Direction)For The Musical Drama 'Avgha Rang Ekachi Zala'
Z Gaurav Puraskar
Ma.Taa.(Maharashtra Times) Sanman
An Award from Maharashtra State
Ramkrishnabua Vaze Puraskar
See also
[edit]
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https://www.linkedin.com/pulse/politics-revival-sumedha-raikar-mhatre
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The Politics of Revival
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"Sumedha Raikar-Mhatre"
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2016-09-26T03:48:13+00:00
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http://m.mid-day.
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en
|
https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/pulse/politics-revival-sumedha-raikar-mhatre
|
http://m.mid-day.com/articles/sumedha-raikar-mhatre-the-politics-of-revival/17637195
Call it elitism or juvenoia, but theatre groups in Mumbai are governed by an unwritten who-is-worthy-of-which-script parameter. A peep into the world of theatre entertainment...
On the afternoon of January 29, 1975, when Indian National Theatre’s production Tee Phulrani opened to an 800-plus audience at Mumbai’s Ravindra Natya Mandir, playwright-director Purushottam Lakshman Deshpande (Pula) did not smile. He was expecting more — a ‘houseful’ sign at the booking counter. It was the least he expected for a play whose cultural rendering (from Bernard Shaw’s Pygmalion which influenced the Gujarati version Santu Rangili) had occupied him for three years. He had relocated himself from Pune to a small Worli tenement to audition each artiste; not to forget the four-month long 7 am rehearsals, considering the day jobs of artists like Bhakti Barve, Satish Dubhashi and Arvind Deshpande.
Madhav Abhyankar (right), who in 1994 resurrected the historical costume drama Ghashiram Kotwal, says that many in the Pune-based Theatre Academy termed him “foolishly ambitious” to attempt the feat and, aside from Dr Mohan Agashe, no one had applauded his work
After the fifth show (right up to the 802nd in 1989) Phulrani fulfilled Pula’s ‘houseful’ wish. It blossomed into a three-and-a-half hour popular lyrical drama on a flower seller’s transformation into a society lady. Shaw’s lampooning of British rigidity became Pula’s take on class prejudice and social mobility in Maharashtra, underlining the pomposity of cultivated speech in upper class refinement.
Pushkar Shrotri in Hasava Phasavi, who added a new flavour to actor Dilip Prabhavalkar’s six characters in the light Marathi comedy written by Prabhavalkar himself, last performed by Prabhavalkar in July 2000
When a play, as culturally loaded as Pula’s Phulrani (equated with the high-energy signature role of Bhakti Barve; mounted with newer artistes up to the nineties; last rendered by Waman Kendre as a failed musical in 2003 inviting censure) is mounted in 2016 by a first-time producer (Adonis Aviation owned by brother-sister duo Leena and Rahul Juvekar) whose competence lies in facilitating chartered helicopter flights, Marathi theatre circles display what is called the “He Kon Aale Tikojirao” (Who’s this smart a**?) syndrome. Perceived as an odd choice of Johnny-come-latelies [director Rajesh Deshpande (46), lead actress Hemangi Kavi (30), are known, but for sundry work in theatre, TV serials-films; supporting artistes lack aura], the new Phulrani initially attracted negative attention. Deshpande’s “minimal trimming” of the script (it is copyright-free after Pula and Sunitabai’s death) has also raised eyebrows, particularly from some of Pula’s family members. Deshpande told them about the “need for period-appropriate" editing,” of poetic passages. It is also observed that the cast, particularly Dr Girish Oak (the star face in the cast) playing the phonetics professor responsible for Phulrani’s makeover, has a tendency to add spur-of-the-moment lines to cash in on Pula’s humour. Dr Oak has denied these allegations, publicised in a section of the press on its 50th show.
“We are aware of the inviolability of the script penned by a master wordsmith. But every director deserves room for manoeuvre. Had Pula been alive, he would have granted us that room – his own stage version of Phulrani is different from the play he wrote. In fact, the published text is the working script” says Deshpande pointing towards an anonymous lobby (some of them have declined invitations to see the new avatar), which believes that only certain groups deserve to stage Pula. Veterans don’t go on record while raising objections. Those who criticised an inferior Phulrani, later claimed in private that they had not meant to derail the shows and that they stood for the spirit of experimentation in theatre. One director stated he had made a general comment on script sanctity, which was superimposed on the Phulrani episode by a mischievous mediaperson.
Rajesh Deshpande’s objection to Marathi theatre’s unwritten who’s-worthy-of-which-script parameter finds echoes in actor Madhav Abhyankar’s take on resuscitated productions. Abhyankar (53) resurrected the historical costume drama Ghashiram Kotwal in 1994 and has so far worked with first-time artistes and producers to keep the play alive for 22 years.
Pune-based Abhyankar had nursed the ambition of doing the Nana Phadnavis role ever since he did backstage management for Theatre Academy’s Jabbar Patel-directed Ghashiram in 1973. “Apart from my personal ambition to enact the Peshwa, I wanted to revisit a milestone – an original Indian spectacle set in the folk theatre tradition that went off the circuit after 1991. I thought it had to be infused with fresh blood,” he recalls. Many in the Academy termed him “foolishly ambitious” to attempt the feat. Except for Dr Mohan Agashe (the actor immortalised as the debauchee-power monger Fadnavis) who not just watched the new play but came backstage to extend his good wishes, none from the Academy circuit appreciated the courage, even after the play survived two decades. "Disheartening was the veiled threat (The original is due for a comeback!),” Abhyankar recalls.
Among the theatre veterans who welcomed the new Ghashiram was theatre manager Surendra Datar, an insider with over 40 years of backstage management experience and a special interest in revived productions. He rates the revived Ghashiram as among the handful of productions that have matched up to the original magic. “To be honest, I watched the show with much trepidation because I wasn’t sure how many hours the team had devoted to the rehearsals in this post-cellphone world — the original one had solidified over an uninterrupted six months in Pune, helmed by a director who doubled up as practising doctor in Daund at that time. But I was pleasantly surprised by the new synergy, just as I was in Kimayagar — actor Sadashiv Amrapurkar’s 1993 script on Helen Keller’s childhood — resurrected by actress Sampada Kulkarni. It made me forget the original.” Datar feels actors who attempt the revivals of milestones need to assess their vakoob (capacity) with greater care, as popular faces are often misguided into wrong choices.
He gives the example of actor Dilip Kumar who graced the 1,000th show of Toh Mee Navhech in 1989 (a landmark play featuring a real-life trickster who lured six women into marriage) and admitted that he could never have taken on the six roles that Prabhakar Panshikar did with ease. Panshikar got his act right in the 2,833rd show at the age of 77. He passed the baton to Dr Girish Oak in 2009. It is said in jest that Toh Mee Navhech and Phulrani now weigh down a doctor’s shoulders.
Actor Sharad Ponkshe, who has two revivals to his credit — Lahanpan Dega Deva(1963) and Beimaan (1973) — is a bit matter-of-fact about revivals. “Personal bias, in favour or against an actor, is a part of the entertainment market; we have to accept that the audience, will expect a mirror image of the famed artiste who did the original. The burden of expectation is a given.” Ponkshe will open Nathuram Godse in Mumbai on October 2 Gandhi Jayanti, which he has written, directed and produced; he plays the protagonist Godse, similar to the one in the controversial Mee Nathuram Godse Boltoy. After producer Uday Dhurat did not want to continue, Ponkshe took it on himself to mould a fresh script, unable to let go of Godse.
Celebrated actor Dilip Prabhavalkar feels actors reviving comedies have to be more accountable, as compared to those following the script in serious plays. “Each period has its own humour and new actors are called upon to tweak the banter with fresh references. Sometimes it works well, and there are times when the actors take too many liberties." Prabhavalkar appreciates the new-age avatar of his light comedy Hasva Phasvi (drew curtains in 2000 after 700 shows) in which Pushkar Shrotri has added his own dashes of colour.
At his point, the Phulrani team is set to resume shows in Mumbai (75 so far), after touring Madhya Pradesh and Goa. Hemangi Kavi has recently won a comedy award for her role, for her rare courage in interpreting her own Phulrani. Had Pula been alive, he would have punned on the flower seller bringing him fragrant royalty.
Sumedha Raikar-Mhatre is a culture columnist in search of the sub-text. You can reach her at sumedha.raikar@gmail.com
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https://m.rediff.com/news/1998/aug/27godse.htm
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Rediff On The NeT: Godse play irked people with its title, says Marathi actor
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Godse play irked people with its title, says Marathi actor
''The fate of Mi Nathuram Godse Boltoy (I am Nathuram Godse speaking) would have been different had it been enacted with a different name,'' says senior Marathi stage actor Prabhakar Panshikar.
Speaking on the recent controversy over the play, which portrays Godse's version of the Gandhi assassination, Panshikar said the play was hyped by the media and came into the limelight due to its title which openly suggested what the play was all about.
''Around 80 shows of the Gujarati version of the same play were staged in Bombay and in Gujarat, as Ahuti, but there was no objection or demonstrations against it,'' he pointed out. It was because of its title that the play was targeted, he said.
Panshikar said although he had not seen the play, he experienced the reactions of the audience backstage and was surprised at the applause it received at its very first stage show at Shivaji Mandir in central Bombay.
Panshikar said although certain parties politicised the issue, the play is a must-see in order to get a clear picture of what the writer has to say and whether he has said it justly.
UNI
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https://www.business-standard.com/article/pti-stories/actor-jayant-sawarkar-to-get-maha-lifetime-award-for-theatre-118110501125_1.html
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Actor Jayant Sawarkar to get Maha lifetime award for theatre
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2018-11-05T19:20:32+05:30
|
Noted Marathi actor Jayant Sawarkar will be honoured with the Maharashtra government's Natvarya Prabhakar Panshikar Lifetime Achievement award in the field of theatre.
The Sangeetacharya Annasaheb Kirloskar Lifetime Achievement will be bestowed on tabla artist Vinayak Thorat.
Culture Minister Vinod Tawde Monday said both awards comprise cash prizes of Rs 5 lakh, citation and memento each.
Sawarkar started his career in Marathi theatre as a backstage artist and got an opportunity in playwright Vijay Tendulkar's play "Manus Navache Bet".
His role as a clown in Acharya Atre's "Samrat Singh" made him popular.
Thorat has accompanied top artists like Jitendra Abhishekhi, violin player D Datar, Mogubai Kurdikar, Pandit Bhimsen Joshi , Kishori Amonkar, Ram Marathe, Manik Verma and Jyostna Bhole.
Tawde said the dates of the presentation of the award will be announced soon.
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https://www.business-standard.com/favicon.ico
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https://www.business-standard.com/article/pti-stories/actor-jayant-sawarkar-to-get-maha-lifetime-award-for-theatre-118110501125_1.html
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Disclaimer: No Business Standard Journalist was involved in creation of this content
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18 August 2024... Prabhakar Panshikar news, gossip, photos of Prabhakar Panshikar, biography, Prabhakar Panshikar girlfriend list 2024. Relationship history. Prabhakar Panshikar relationship list. Prabhakar Panshikar dating history, 2024, 2023, list of Prabhakar Panshikar relationships.
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//pts1.whosdatedwho.com/img/wdw/favicon.ico
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Who's Dated Who?
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https://www.whosdatedwho.com/dating/prabhakar-panshikar
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Prabhakar Panshikar Indian Actor
Prabhakar Panshikar dating history
Relationships
We have no records of past relationships for Prabhakar Panshikar.
About
Prabhakar Panshikar is a member of the following lists: 1931 births, Marathi people and Indian stage actors.
Contribute
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8363
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dbpedia
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0
| 48
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https://starclinch.com/suruchi-adarkar
|
en
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Book / Hire CELEBRITY APPEARANCE Suruchi Adarkar for Events in Best Prices
|
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[] |
[
""
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Hire CELEBRITY APPEARANCE Suruchi Adarkar in Best Price. Contact for booking Suruchi Adarkar for Events. Request quote → Get Call Back from Client Service Manager → Book Artist in Best Rates. Option to Pay for Booking in Easy Installments %
|
en
|
/favicon.ico
|
StarClinch: Book Entertainer, Live Band, Singer, Comedian, Artist
| null |
The beautiful actress Suruchi Adarkar is an exceptionally talented and versatile artist known for her hard work and passion towards her craft!
Read More
|
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8363
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dbpedia
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| 7
|
https://www.wikidata.org/wiki/Q7237227
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en
|
Prabhakar Panshikar
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
https://www.wikidata.org/static/favicon/wikidata.ico
|
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[] |
[] |
[
""
] | null |
[] | null |
Indian actor
|
en
|
/static/apple-touch/wikidata.png
|
https://www.wikidata.org/wiki/Q7237227
|
Indian actor
edit
|
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8363
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dbpedia
|
3
| 32
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https://twitter.com/aparanjape/status/1062347308170276864%3Flang%3Den
|
en
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x.com
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[] |
[] |
[] |
[
""
] | null |
[] | null |
X (formerly Twitter)
| null | ||||||||
8363
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| 65
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http://inclam.in/Artist_RaghunandanPanshikar.html
|
en
|
Inclam â Indian Classical Music Platform
|
http://inclam.in/icon/Inclam.png
|
http://inclam.in/icon/Inclam.png
|
[
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] |
[] |
[] |
[
"Inclam"
] | null |
[
"Probus software"
] | null |
Classical Music Platform
|
en
|
icon/Inclam.png
| null |
He is a versatile artist and sings semi-classical forms like Bhajans, Thumris, Gazals, and Natya Sangeet with panache. Recipient of several prestigious awards, Panshikar has made his mark in performances throughout India as well as in Europe, the United States, and the Middle East.
Panshikar was born into a family of Sanskrit scholars and classical musicians. He is the son of the eminent Marathi stage actor and producer Prabhakar Panshikar. Panshikar's aptitude for music was recognized by him and fostered him from an early age. He began his formal study of music in Mumbai at the age of eleven. He learned music from the late Vasantrao Kulkarni for two years. Later he took training from the doyen of Jaipur gharana, Kishori Amonkar from the age of 17, over the next 20â22 years. During this time, Raghunandan had the rare fortune to be guided by Kishori Tai's mother, Mogubai Kurdikar.
He has received many prestigious rewards like Smt. Manik Varma Puraskar and Upadhye Smriti Puraskar for their contribution to Indian Classical Music. He has also been awarded by Swaryogini Dr. Prabha Atre award from Gaanvardhan & Tatyasaheb Natu Foundation Pune, for his significant achievements and performing career.
Read More â¼
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| 93
|
https://www.firstpost.com/entertainment/abhijeet-deshpandes-kashinath-ghanekar-biopic-brings-the-past-to-life-with-great-performances-5677251.html
|
en
|
Abhijeet Deshpande's Kashinath Ghanekar biopic brings the past to life with great performances
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[
"review",
"Movie",
"Marathi",
"FWeekend",
"Subodh Bhave",
"Abhijeet Deshpande"
] | null |
[
"Urmi Chanda Vaz"
] |
2018-12-05T15:37:13+05:30
|
As far as being faithful to the past goes, director Abhijeet Deshpandeâs Ani⦠Dr Kashinath Ghanekar makes a decent debut.
|
en
|
https://images.firstpost.com/dlxczavtqcctuei/news18/static/images/fp/favicon.ico
|
Firstpost
|
https://www.firstpost.com/entertainment/abhijeet-deshpandes-kashinath-ghanekar-biopic-brings-the-past-to-life-with-great-performances-5677251.html
|
In a scene halfway through the biopic Ani⦠Dr Kashinath Ghanekar, a theatre producer stands up for his best friend and erstwhile stage superstar Ghanekar. The Marathi theatre association wants him banned, but the loyal producer friend pleads that Ghanekar, ostracised for bad behaviour, should be given another chance.
The scene would seem poignant but for the excuse that the producer friend, Prabhakar Panshikar, extends. He cites Ghanekarâs creative genius as the reason why the transgression should be overlooked.
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In the wake of the #MeToo movement, which has been a moment of reckoning for several âcreative geniusesâ lately, Panshikarâs line of argument makes one cringe. But then, this is a story of the past.
High on history
As far as being faithful to the past goes, director Abhijeet Deshpandeâs Ani⦠Dr Kashinath Ghanekar makes a decent debut. Deshpande is no stranger to the film industry, having scripted Bollywood fare as Shootout at Wadala (2013), David (2013), and Wazir (2016), besides the Amazon Prime original series Breathe earlier this year. His love of Marathi theatre is palpable too, from his involvement as dialogue writer and screenwriter of the 2016 film Natsamrat (the highly successful Marathi film, interestingly, starred the veteran Nana Patekar, whose career has come crashing following #MeToo allegation a couple of months back).
While Natsamrat narrated the story of a theatre star in his twilight years, Deshpandeâs is mainly a tale of glorious ascent. The filmmaker draws from Nath Ha Majha (He, My Lord), written by Ghanekarâs widow Kanchan, to imagine Ghanekar. The protagonist is superbly brought alive by Marathi actor Subodh Bhave who is, incidentally, emerging a biopic veteran of sorts. Bhave has in the past essayed freedom fighter Bal Gangadhar Tilak in Lokmanya: Ek Yugpurush and legendary Marathi singer Bal Gandharva in Sound Of Heaven: The Story Of Balgandharva.
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Story of firsts
Unlike Tilak and Bal Gandharva, who occupy an almost superhuman place in the Marathi mindspace, Ghanekarâs greatness comes laced with human failings. The films portrays as much, and also highlights his life as a story of many firsts.
Dr Kashinath Ghanekar, a qualified dentist who forayed theatre, made his stage debut as Maratha ruler Sambhaji Bhosale in Raigadala Jehva Jaag Yete (When Raigad Comes Alive). The play written by Professor Vasant Kanetkar was a runaway hit. It depicted the fragile relationship Maratha king Shivaji shared with son and heir Sambhaji, and became so popular thanks to Ghanekarâs explosive act that it ran for over 50 years.
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The Ghanekar-Kanetkar partnership would yield many memorable plays, notably Ashroonchi Jhaali Phule (Tears Turned Into Flowers). Ghanekar gave a minor but groundbreaking performance as the rebel Laalya and was a big reason for the playâs success, underlined by its multiple packed shows throughout the day.
Ashroonchi Jhaali Phule marked the birth of a youth icon, even as Ghanekarâs redoubtable charm helped revive Marathi theatre at a time when it was losing ground to Rajesh Khanna-led Bollywood.
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Replaying legends
Ghanekar, however, was not alone. As is often the case with periods of cultural churn, several of his contemporaries left an indelible mark. Many of them feature in Deshpandeâs film.
Marathi theatre and cinema lovers would be familiar with actress Sulochana (essayed by Sonali Kulkarni), noted theatre director Master Dattaram Walwaikar (Suhas Palshikar), film producer Bhalji Pendharkar (Mohan Joshi), theatre producer-actor Prabhakar âPantâ Panshikar (Prasad Oak), Professor Vasant Kanetkar (Anand Ingale) and Dr Shriram Lagoo (Sumeet Raghavan).
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These stalwarts played vital roles in Ghanekarâs story, as did the women in his life â his first wife Iravati (Nandita Dhuri) and much younger second wife Kanchan (Vaidehi Parshurami), who was Sulochanaâs daughter. Despite Bhaveâs dominating screen presence, the supporting cast holds its own. Especially laudable is Raghavan as Ghanekarâs arch-rival Dr Lagoo, who was an emissary of Marathi theatreâs changing face.
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An anguished man
The impressive cast makes up for the fact that debutant Deshpandeâs directorial effort is not always surefooted. The film makes for a fascinating watch as decades past come alive through vignettes of successful plays as Garambicha Bapu and Anandi Gopal.
The story derives its warmth mainly from the rise and fall of a great yet flawed artiste. The depiction of Ghanekarâs troubled relationship with his father, his addiction for fame, friendship with Panshikar, estrangement from his first wife, his drinking problem and ultimate fall from grace before a lonely death make the film what Ghanekar himself would have liked it to be: theatrically memorable.
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https://www.indiatoday.in/magazine/india/story/the-revivalist-765280-2013-08-21
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en
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The revivalist
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[
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2013-08-21T00:00:00
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en
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https://www.indiatoday.in/favicon.ico
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India Today
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https://www.indiatoday.in/magazine/india/story/the-revivalist-765280-2013-08-21
|
As the curtains opened on the 333rd show of Avagha rang ekachi zala (The Unisonof Colours) on August 15,producer Anant Panshikar, 58, was a proud man. "I struggled to bring people in to the theatre for the first 50 shows,? says Panshikar the owner of the city-based Natyasampada, company, a leading producer of Marathi plays. After the initial lull, this play caught on and travelled across the country and to the United States in 2009, clocking over 300 shows. And with this, Panshikar andhis company revived the longforgotten genre of the sangeet natak, something that mostcommercial producers were wary of attempting. Since he took over the reins of Natyasampada, a group his uncle Prabhakar Panshikar had founded 60-years-ago, he has experimented with new genres and revived decades-old popular scripts. Even as new commercial plays were setting the cash registers ringing, Panshikar, an ardent fan of the classics, went into a revival mode in 2008bringing back to the stage longforgotten plays. "The classics have excellent plots and beautiful lyricallanguage, which we hardly hear these days. That is what makes them stand out amidst a flurry of new talent and scripts,? he says. First in line was Samuel Beckett's highly acclaimed abstract play Waiting for Godot, in which Panshikar roped in actor Tom Alter for the first time on Marathi stage in 2008. He even stageda show at Mumbai's Arthur Road jail for inmates. Deviating from the traditional Natyasampada school of musical and historical plays, Panshikar went on to producea folk play Viccha Majhi Poori Kara before digging out scripts byeminent playwrights such as P L Deshpande, Vasant Kanetkarand Acharya Atre.
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https://www.mumbaitheatreguide.com/dramas/Articles/11/mar/14-81st-birth-anniversary-of-late-prabhakar-panshikar.asp
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81st Birth Anniversary of Late Prabhakar Panshikar... : www.MumbaiTheatreGuide.com
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favicon.ico
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Prabhakar Panshikar, Marathi drama legend would have been 81 today. On this occasion, his nephew, Anant Panshikar who helms the home banner Natya Sampada now has organised the screening of the video of Prabhakar Panshikar's iconic play 'To Mee Navhech'. "This is the first ever screening of the video of the play," informs Anant.
The show is open to all the fans of Lakhoba Lokhande, the role of a con man who swindles vulnerable women through five different disguises, that Panshikar had played with endearing adeptnee. Written by Acharya Atre and performed on the revolving stage - the play was first staged in 1962. The opening show was performed at New Delhi where the audience was regaled by Panshikar's deft and mannerism changes as Lakboba Lokhande. The play was subsequently translated in Kannada and Gujarati, with Panshikar playing the lead roles. Panshikar decided to give up the role after he had completed more than 2,000 shows of the play. The video screening would be a unique tribute to the iconic Lakhoba Lokhande's character.
Date: March 14, 2011
Venue: Yashwant Natya Mandir, Matunga, Mumbai
Time: 4 pm
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https://www.dramadose.com/mukhyamantri/
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Review: Mukhyamantri
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2014-05-26T11:07:31+00:00
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Review of Kalagangotri's Kannada comedy Mukhyamantri. If you guess this might have something to do with Kissa Kursi Ka or Yes, Minister, you'd be wrong.
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https://www.dramadose.com/wp-content/themes/dramadose/favicon.ico
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DramaDose
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https://www.dramadose.com/mukhyamantri/
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A Kannada play from Kalagangotri, Bengaluru
I walked into the theatre with a premonition that this might have something to do with Kissa Kursi Ka or Yes, Minister. I was proved wrong. This two-hour comedy has few one-liners, which are usually the staple of comedies. Instead, actions and reactions make you laugh. Mukhyamantri also makes you realise that *seeing* a drama is a richer experience than merely hearing it on the radio.
The stage was swathed in white: the ‘divans’-and-bolsters for visitors at the party office and at the CM’s residence, the dining table, a colleague’s residence, the party ‘uniform’ (including the cap). The exceptions to this colour scheme were a few telephones, an extinct contraption called a typewriter (some of you might have to Google that), three ladies who brought in a modicum of colour, and the hearts of the characters involved.
Chief Minister of Udayachal, Krishna Dwaipayana Kaushal is worried about losing his chair, as rivals in the party are jockeying to catch the High Command’s eye and grab his post. But he is made of sterner stuff. His various machinations to retain the position remind us that liquor, flesh and food may be powerful motivators, but the most potent of them all is ‘power’.
Frequently, the Chief Minister’s name is shortened to KD Kaushal, with its obvious negative connotations in Kannada. For people not familiar with the usage, KD, pronounced as keDi, is a word used to refer to a delinquent or a ‘rowdy-sheeter’ and is said to have its origins in the noting of the initials KD, for Known Depredator, police records during the British times. Quite a few laughs are raised when KD ‘dictates’ the next day’s news report to a pliable journalist, before the events have actually transpired.
Sometimes, even dialogues are not needed to get the audience to burst into laughter. Like the Indian celluloid policeman hero removing his shirt before thrashing the villain, one of the rivals removes his white cap (almost as an afterthought) before imbibing ‘sherbet’. The mere sight of that rival after his liquid nourishment, as he assesses the complicated probability of putting his two feet into the four images of footwear he possibly sees, with some well-executed manoeuvres to accomplish the same, is sufficient to get the audience roaring.
There is a bit of anachronism in the play. Many conversations happen over telephones that clearly belong to the 1980s, but one photo-journalist seems to be using a mobile phone to take a video. If mobiles were available, why talk over landlines, given the fact that the interlocutors are worried about their phones being tapped. For gosh sakes, they are the party in power. So they must be bothered about their rivals or maybe, even the High Command listening in.
The play traces its origins to a 1976 novel of the same name, by Chanakya Sen. The novel was adapted into a Hindi play by NSD stalwart Ranjit Kapoor. When translating from the Hindi original, TS Lohitashwa seems to have retained names like Dubey, Desai,Tripathi, Sahay etc., though the characters speak Kannada. That must make it easy to convince local politicians, who might otherwise take umbrage, that they are not the ones being lampooned. The play is directed by BV Rajaram and has done over five to six hundred episodes, we are told.
There are many plays named after people, but only a few examples of an actor becoming synonymous with the play. “Has Chandru made Mukhyamantri famous or has Mukhyamatri made Chandru well-known?” is a difficult question to answer. A bit of both, I think. I understand that the success of the play prompted the lead actor to change his name from Chandrashekar to Mukhyamantri Chandru . He has played the role in all the enactments of this play for over 34 years. His dialogues are delivered with a characteristic smile at times, but they are always delivered loud and clear. Though I felt some of the other characters were not speaking that clearly.
Parties in power may come and go and Chief Ministers might be sworn in or uprooted, but this Mukhyamantri seems to be going strong, unmindful of the torrents that swirl round him in the real world outside, reacting only to the turmoil in the play. In a case of real life imitating the stage, Chandru took to the path of politics and won an election, but his alternate career did not really take off as successfully as his play has done.
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नाट्यगंध: May 2014
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सम्यक कलांश प्रतिष्ठान अंतर्गत नाट्य विभाग म्हणजे
नाट्यगंध . सदर विभाग संस्थे अंतर्गत मराठी नाटक तसेच एकांकिकाच्या माध्यमातून रंगभूमीच्या नव -नव्या प्रयोगाचे नवे पैलू दाखविण्याचा तसेच लोकनाट्याचा बाज टिकवून ठेवण्याचा प्रयत्न हा नाट्यगंध ह्या मार्फत होणार आहे. या सर्व गोष्टी यशस्वी होण्यासाठी आपण सर्व रसिक श्रोत्यांचे तसेच कलाकारांचे सहकार्य व आशीर्वाद मोलाचे आहे .
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http://natyagandha.blogspot.com/2014/05/
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http://www.abssindia.in/page/testimonials
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en
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Akhil Bhaaratiya Sanskrutik Sangh's Global council of art and culture
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Akhil Bharatiya Sanskrutik Sangh (A.B.S.S.) is a renowned Organization in Pune engaged in a variety of Global integrity development programs covering various cultural & social events, Culture, sports, uplifting the children & youths etc. For the past more than 12 years, the A.B.S.S. is closely working amongst the children from grass root levels
|
en
|
Global Council of Art and Culture
|
http://www.abssindia.in/page/testimonials
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“It’s indeed a pleasure to know that artists from rural & urban areas of India are showing their real folk art through their large participation. It is the peculiarity of Indian Culture to give the artist an excellent platform to increase the awareness of different performing arts in the audience with such cultural programmes. UNESCO will support Akhil Bharatiya Sanskrutik Sangh for such events .”
HON. MOE CHIBA Programme Specilaist of UNESCO
“Performing the Art on large participation in different country is really appreciable to develop the sense of Art through like these events will be very useful. Moreover the Traditional Indian Classical Dances will get the audience of its through these Cultural Event. We are proud to have an Indian Organisation like ABSS who is promoting these dance forms all over India.”
HON. GURU PANDITA ROHINI BHATE Founder of Nrityabharati Renowned Kathak Dancer
One does not get only the art from his guru but the energy because Indian art is the origen of energy. Art is learned through culture. The knowledge of having a music is not enough but it is a history.
Suresh Talwalkar Famous Tabla Artist
Pune is the city where the art & the artists are appreciated. The artists should see that they give the value for their guru. They should also proceed with the work of their guru.
Sayeeduddin Dagar Gazal Samrat
Though India differ in diversity but it's Unity is seen together through Culture. And to strengthen this thread of Unity the exchange of cultural events is very neccesary which Akhil Bharatiya Sanskrutik Snagh is doing. My Best wishes to them.
Girish Oak Renowned Theatre & film actor
Through the media of Natioanal Harmony the artists from the all over India can showcase their talent from Bhav, Raag, Taal a different music is born which tries to bind together the whole world. The dance helps in acting also.
Asha Kale A Famous Film Actress
“Indian folk dance has given me a way to become an Indian Classical Dancer. Indian Folk dances & Indian Classical Dances both together can create an excellent immense choreography in this field of art. Through Guru Shishya Parampara a perfect disciple can be made who can promote these art to the whole world.”
HON. ACHARYA PARVATIKUMAR Sr. Guru. Of Bharatnatyam
“For the development of Art & Culture ABSS has created an excellent platform. . India is a great example of Unity in Diversity. Though social negative powers are trying to destroy the whole world, but still the power of love & togetherness is overwhelming them. The artists from all over India are coming together to participate in this Festival to showcase the Unity in Diversity of India..Each one should an have their own identity , but to have the identity of Nationality is very important which can be seen here in this contest. By such authentic National Competitive Fest. participants can get merit under special cultural reservation in their academic levels & can also get jobs under this reservation.”
HON. SMT. FAUZIA KHAN Cultural Minister of Maharashtra
“Seeing today’s world, India is going on the way of separation & the man is becoming self existence & self conscious. In these circumstances , Akhil Bharatiya Sanskrutik Sangh is playing an important role in bringing together all the various culture, religion, traditions of India on one platform with the aim of Universal Brotherhood & peace.”
HON. SHRI. PRABHAKAR PANSHIKAR Sr. Stage Actor
“I am very grateful to ABSS for giving me an opportunity to become a part of this glorious mega Festival of Dance & Music wherein all talented artists from all over India have come together on one platform . I give my best regards to them.
HON. SMT. SAVANI SHENDE Famous singer
“Instead of only giving pleasure to oneself ,Music is important in giving pleasures to others . These competitions help the artist to explore himself . The journey of music is nothing but education, grasping, experience & skills to present oneself in front of audience so as to get a confidence . Akhil Bharatiya Sanskrutik Sangh has given a path to feel the glimpses of melodious music by providing platform for this upgrowing artists.”
HON. SHRI. ENOCH DANIEL Renowned Music Composer
“Each & every artist have the qualities of acting to express one’s view, so instead of language acting can be used given by God. In this event artists from all over India have come together breaking the barriers of caste, religions sharing their art & culture depicting National Unity . This Platform from Akhil Bhartaitya Sanskrutik Sangh is really mind-blowing.”
HON. SHRI. ARUN NALAWADE Famous Film Actor
“It’s really surprising to see 2500 artists from all over the world together under one platform . We all are very lucky & thankful to Akhil Bharatiya Sanksrutik Sangh to give us an opportunity to watch & hear the different dances, vocals, instrumentals Art forms from all over India. Art is inbuilt in everyone only thing is that it should be given a right way . This work the elders & parents can do by exploring the hidden talents in their child ”
HON. SHRI. RAMESH DEO Noted Film Actor
“National Harmony – Bhav- Raag- Taal is an platform for artists who are devoted to art where they can show their talents . Many Indian Classical Dances are still not yet flourished in India. Through this platform the artists will get the knowledge of that dance & can learn it ”
HON. PADMASHRI GURU DARSHANA JHAVERI Founder - Manipuri Nartanalaya
“Never think that any difficulties in life creates an obstacle to reach your goals. It is actually an opportunity to show your talents. Nature creates the difficulties but you are self confidence & self talented then there will be no hurdles in your life. It’s true that one cannot go ahead in this cultural field without support , but that doesn’t mean that any ill treatment from the society can stop your path leading to cultural goals. You yourself are the competitors , this thought will surely make your way a success. To create & perform any art solely depends upon the ‘Sadhana’ of that artist. Akhil Bharatiya Sanskrutik Sangh’s work is really striving for the development of such arts creating in one self a thought of leadership through these different performing arts”
HON. SHRI. MANGESH TENDULKAR Famous Cartoonist
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Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.
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Veteran theatre actor dies after prolonged illness
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"Prabhakar Panshikar",
"theatre actor",
"news",
"hindustantimes"
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[
"Satyajit Joshi"
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2011-01-14T01:18:46+05:30
|
Veteran theatre actor Prabhakar Panshikar, died late on Thursday evening at a private hospital following prolonged illness. He was 80. He is survived by his wife, two sons and a daughter. | Mumbai news
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Hindustan Times
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https://www.hindustantimes.com/mumbai/veteran-theatre-actor-dies-after-prolonged-illness/story-i6i2qjn8gx1cp4oxzImscM.html
|
Panshikar was admitted to a private hospital in Pune last week in a critical condition.
He was put on a ventilator for the last few days and doctors were planning to perform a angioplasty. However, he passed away at 9.15 pm on Thursday.
Panshikar’s association with Marathi theatre lasted for more than five decades, and he performed in more than 8,000 shows. Apart from Marathi theater, he also acted in Kannada and Gujrathi plays.
Panshikar’s theatre company, Natyasampada, produced more than 40 plays, most of which became household names in Maharashtrian families in the sixties.
However, Panshikar, is still remembered for his role — Lakhoba Lokhande – in `To Mee Navech’ a famous play written by Acharya Atre.
Panshikar played five different roles in ‘To Mee Navech’ and the play was staged for more than four decades, creating history in Marathi theatre. Panshikar is also credited for creating the world’s first portable revolving stage, which was used in ‘To Mee Navech’.
Born in Fanaswadi in March 1931, in a traditional Brahmin family, Panshikar began his career with veteran Marathi writer MG Rangnekar’s Natyaniketan but later formed a separate company — Natyasampada — along with Mohan Wagh.
Natyasampada’s first production `Asrunchi Zali Fule’, written by Vasant Kanetkar, was a huge success in 1963.
Natyasampada produced several hits like `Garambicha Bapu’, Veej Mhanali Dhartila’, `Vikat Ghetala Nyaya’, `Andhar Maza Sobati’, `Thank You Mr Glad’ amongst others.
His musical plays, ‘Katya Kaljat Ghusli’, ‘Madnachi Manjiri’, ‘Suvarnatula’ and ‘Honaji Bala’ rejuvenated musicals in Marathi theatre.
Panshikar was honoured with several awards and was known for his outspokenness. He was president of the Akhil Bharatiya Marathi Natya Sammelan.
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Sudha Bharadwaj’s book and the drama on a revolutionary on death row
|
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2023-12-10T17:36:04+05:30
|
The reading by Ratna Pathak Shah last evening from Sudha Bharadwaj’s book about days in the death row in jail, reminded me of a thrilling Marathi play
|
en
|
Countercurrents
|
https://countercurrents.org/2023/12/sudha-bharadwajs-book-and-the-drama-on-a-revolutionary-on-death-row/
|
The reading by Ratna Pathak Shah last evening from Sudha Bharadwaj’s book about days in the death row in jail, reminded me of a thrilling Marathi play Thank You Mr Glaad about a Naxalite revolutionary. The movement has taken little note of the play written by Anil Barve.It was also a big popular hit and was produced by Prabhakar Panshikar, a very popular actor and producer, in the 1970s.
Sudha, the lawyer and activist, spent three years and three months in jail following her arrest under the Unlawful Activities (Prevention) Act on August 28, 2018. Her book From Phansi Yard is about her days in Pune’s Yerawada Jail.
Barve was a brilliant playwright, novelist, journalist, fired by idealism who in today’s terms could be called an organic intellectual. His play is about Dr Birbhushan Patnaik, a doctor turned Naxalite, his unflinching commitment. He is pitted against a harsh Anglo Indian jailor Glaad whose wife had died in a concentration camp in Germany. Hours before his hanging he performs a successful ceasarian operation on Gladd’s daughter when no other medical help is available on the rainy night.
Some thought it was melodramatic, but it was certainly powerful and is still performed in other languages. Look at the multiple strands woven into the theme from fascism, revolution to humanism and so on.
Barve’s memory was also revived last week in a touching tribute by his very talented dancer choreographer daughter Phulwa Khamkar on his death anniversary. He died 39 years ago when she was barely nine year old and he 36. Liquor consumed this wonderful, pleasant, talented . man. And so prolific and talented. There was a large, warm response on facebok to her heartfelt remembrance. His premature death was a big blow to her young mind and she had for some time stopped thinking about him but today as she looks back, she realises what an important man he was. Talented film maker Rahi Barve is her brother. Her mother Prerana is the daughter of the famed Amar Shaikh, who roused thousands with his stirring revolutionary folk songs.
Coming back to trade unionist Bharadwaj, she has seen police heavy-handedness up close, but she did “not envisage the kind of thing” that happened to her as a suspect in the Bhima Koregaon case.
She wrote in her book – Some prisoners pray, some weep, some just put down their heads and work themselves weary. Sudha Bharadwaj watched through the bars of her cell, and she wrote. This is her remarkably granular account of the world of women prisoners in Yerawada Jail in Pune.Bharadwaj was incarcerated here, in a high-security wing called PhansiYard, from November 2018 to February 2020. She takes us through jail life, her own and the other women’s, from one season to the next, weaving in lively portraits of her fellow prisoners, their children and even their pets, and reflecting on everything from absurd rules, caste hierarchies, food, fistfights and friendships to the dismal absence of legal aid for the most defenceless of women.
While Bharadwaj is an unflinching observer of the harshness of prison life, this is not a bleak book. It is written with warmth, compassion and impish humour. It is Bharadwaj’s tribute to the women around her who showed her ‘every single day ‘, she says, ‘how to survive injustice, how to remain hopeful . . . how to continue to live, love, fight and laugh, even behind bars, as an observer put it.
The reading from he book last evening was followed by a talk by journalist Sukanya Shantha based on her expeience of covering of court proceedings in the trials of political prisoners, followed by senior journalist Freny Maneshaw’s conversation with Sudha. The programme oganised by PUCL, People’s Union for Civil Liberties, was ably compered by Geeta Seshu, journalist and feminist, media analyst. Her partner M.J. Pandey,my former colleague in TOI, needs to be more visible and heard considering the work he has done for the cause of journalists and few have such ideological grasp.
As for Barve I have another reason to remember him. He edited a lively weekly Ranangan in which P.V. Ranade, my history scholar maternal uncle, wrote an article on Shivaji in 1974, the 300th year f the coronation of Shivaji. It was respectful and analytical but it created quite a poliial storm in Maharashtra and he lost his job as a history lecturer in Marathwada university, now named after Dr Ambedkar. It is a landmark case of the persecution of an intellectual.
Barve was jailed for more than a year for suspected Naxalite activities He was a very active, committed journalist and wrote on the Chasnala mining disaster based on his visit there. It is necessary to remember writers like Barve, especially as the Marathi natya sammelan in its 100th year is being held in several centres with a substantial grant of Rs nine core from the Mahaashtra government. It must be used wisely, publishing some meaningful writing on Marathi as well as Indian theatre. Ostentatious expenses on pandals and VIP culure must be curbed. With Dr Jabbar Patel as the president of the 100th sammelan , truly serious and meaningful approach to various issues would be in order.
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