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8363
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dbpedia
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1
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https://in.pinterest.com/pin/prabhakar-panshikar-ji-jayanti-in-2024--1059753356056094865/
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en
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[
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2024-03-09T09:44:24+00:00
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Mar 9, 2024 - Perfect app for designing posters and banners
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en
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Pinterest
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https://www.pinterest.com/pin/prabhakar-panshikar-ji-jayanti-in-2024--1059753356056094865/
| |||||||
8363
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dbpedia
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https://prashantb.wordpress.com/2020/09/28/memories-of-dr-kashinath-ghanekar-first-super-star-of-marathi-theatre/
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en
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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
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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
|
0
| 84
|
https://www.hindustantimes.com/mumbai-news/eclipsed-by-tv-a-51-year-old-theatre-that-stages-marathi-plays/story-q3BlqmINinmV6N2KGDPnRJ.html
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en
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Eclipsed by TV: A 51-year-old theatre that stages Marathi plays
|
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[
"Marathi theatre",
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"Dadar",
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"Anushka Mohite"
] |
2017-01-02T09:21:47+05:30
|
This New Year’s eve, Shivaji Mandir, Mumbai’s landmark Marathi theatre near Dadar’s Kabutar Khaana, shut well before midnight. Gone are the days when it used to host special night shows and even orchestras to ring in the new year... | Mumbai news
|
en
|
Hindustan Times
|
https://www.hindustantimes.com/mumbai-news/eclipsed-by-tv-a-51-year-old-theatre-that-stages-marathi-plays/story-q3BlqmINinmV6N2KGDPnRJ.html
|
The board outside its blink-and-you-miss-it entrance had listed two shows on that day: A morning show of the suspense-ridden Ek Shunya Teen and an evening show of the comedy play All The Best. But nothing for the night. “We used to have orchestras perform on New Year’s Eve earlier. But people watch all that on TV now so we have stopped those shows,” says Shashikant Bhalekar, president of the Chhatrapati Shivaji Smarak Mandal, which runs the theatre that opened on May 3, 1965.
The theatre remains a landmark for the older generation of Mahashtrians in the city, who lined up in droves to watch plays by the likes of Prahlad Keshav Atre (Acharya Atre), Prabhakar Panshikar and Vasant Kanetkar.
“Before the auditorium was built on this plot, it was a ground mainly used for wrestling matches,” says Bhalekar. “Around 1960, it was turned into an open-air theatre, one of many in the area, where travelling theatre companies performed often. Eventually it was turned into one of Dadar’s first closed auditoriums,” he says.
It isn’t the oldest one though — Damodar Hall in Parel was already in existence.
Nowadays, shows are scheduled mostly for Sunday evening. “Earlier, this was one of the few auditoriums that staged Marathi plays in the city. People from as far away as Borivli would come to watch plays here. Now, auditoriums have cropped up everywhere, so people don’t feel the need to come all the way,” Bhalekar says. The shift in the Maharashtrian population, from Dadar to the suburbs may have contributed as well.
“Textile mill workers used to be our best audience,” says Bhalchandra Naik, who has worked at the theatre for the past 35 years. Most mills in the city were concentrated in Parel and Dadar. “We would have three time slots, in the morning, afternoon and evening. They would come in droves after their shifts and fill up the back rows, especially our balcony seats. Once the mills shut, they stopped coming. Now the front rows may be full, but the back rows remain empty,” Naik says.
Comedy plays by popular television and film actors like Prashant Damle and Bharat Jadhav, still run to full houses. “The college-going crowd really enjoys such plays and makes up most of the audience,” says Hari Patankar, who has been working at the theatre’s box office for more than 25 years.
“The audience has also changed tremendously over the years,” says Patankar. “Earlier, going to the theatre would be an event. The men would be well turned out, the women in their best saris, with a shawl to keep them warm in the winter — it was an amazing sight. Now, it is all very casual,” he says. A ticket would cost you anywhere between Rs100 and Rs300.
But with audiences deserting most such small theatres in the city, making money has not been easy. Maratha Mandir has leased out its property to a book shop, among other establishments.
“We are competing with television. Why would people spend money on travel and tickets to come to a theatre, when what is on offer is available to them at the flick of a button. A while ago, night shows featuring orchestras would do very well in our theatre, but they couldn’t compete with the musical reality shows broadcast almost every evening on television,” Bhalekar says.
Its 50th anniversary celebrations, however, was attended by the likes of chief minister Devendra Fadnavis and NCP leader Sharad Pawar. A reminder, perhaps, that Shivaji Mandir is far from forgotten.
|
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8363
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dbpedia
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https://www.facebook.com/100057488648041/videos/coming-soon-various-clippings-anecdotes-photos-etc-of-prabhakar-panshikars-journ/230116191492815/
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en
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Coming soon - various clippings, anecdotes, photos, etc. of Prabhakar Panshikar's journey as a producer and actor... Stay tuned!
|
[] |
[] |
[] |
[
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Coming soon - various clippings, anecdotes, photos, etc. of Prabhakar Panshikar's journey as a producer and actor... Stay tuned!
|
de
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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/coming-soon-various-clippings-anecdotes-photos-etc-of-prabhakar-panshikars-journ/230116191492815/
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8363
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dbpedia
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1
| 70
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https://archive.org/details/in.gov.maharashtra.gr.202209161320078523
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en
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Maharashtra GR: #202209161320078523 : Government of Maharashtra : Free Download, Borrow, and Streaming : Internet Archive
|
https://archive.org/services/img/in.gov.maharashtra.gr.202209161320078523
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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
|
Internet Archive
|
https://archive.org/details/in.gov.maharashtra.gr.202209161320078523
|
Search the history of over 866 billion web pages on the Internet.
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8363
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dbpedia
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1
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https://www.thexperiments.org/beimaan
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en
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Ab Tera Kya Hoga K...K...K...
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Xperiments is a non-profit for promoting Expressive arts in the Seattle area
|
en
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xperiments
|
https://www.thexperiments.org/beimaan
|
१९७३ साली प्रा.वसंत कानेटकर ह्यांनी Jean Anouilh लिखित "Beckett" ह्या फ्रेंच नाटकाचा मराठी अनुवाद केला. मराठी रंगभूमीवर ह्या नाटकाचे निर्माते होते प्रभाकर पणशीकर (पंत). पंतानी नाटकात चंदरची भूमिकाही निभावली. बेईमानचे ३६८ प्रचंड यशस्वी प्रयोग झाले आणि त्याच वर्षी ह्या नाटकाचे हिंदी चित्रपटात रूपांतरही करण्यात आले. “नमक-हराम” हा अमिताभ-राजेश खन्ना जोडीचा चित्रपट तर बऱ्याच रसिकांच्या लक्षात असेलच! जानेवारी २०११ मध्ये पंतांचे देहावसान झाले. ह्या महान कलाकाराला श्रद्धांजली म्हणून Xperiments, बेईमानचा प्रयोग सादर करत आहे! मुळ नाटकाचे दिग्दर्शक होते पुरुषोत्तम दारव्हेकर आणि कलाकार होते प्रभाकर पणशीकर, सतीश दुभाषी, सुधा करमरकर आणि आशा काळे.
In 1973, Prof. Vasant Kanetkar translated Jean Anouilh's French play "Beckett" into Marathi. Prabhakar Panshikar produced this play for the Marathi stage, as well as played the character of Chandar in the play. The play had a successful run of 368 performances, and ended up being produced into a hindi feature film - the Amitabh Bachchan/Rajesh Khanna starrer "Namak Haram"
Prabhakar Panshikar passed away in January 2011 and Xperiments would like to pay tribute to this great artiste by staging this evergreen play.
Original Director: Purshottam Darvhekar
Original Cast: Prabhakar Panshikar, Satish Dubhashi, Sudha Karmarkar, Asha Kale
|
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8363
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dbpedia
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1
| 89
|
http://kalapini.org/doctor.html
|
en
|
Kalapini Home Page
|
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[
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The organisation was formed in 1977 by the enthusiastic artists, headed by Dr Shankar Paranjape. All started well, until next year when the creator and mentor Doctor passed away due to sudden heart attack. The town lost its Family Doctor, and Kalapini its moral support.
But then there had to be someone to hold all members together and guide them on the path of progress. Kalapini found a leader with a vision, in Dr. Anant Paranjape, son of Late Dr. Paranjape.
About him:
He is an Ayurvedic Medical practioner in the town, compared most of the times with his father for the precise medical diagnosis and expertise. He has bagged many awards for acting, oratory and direction in his college life as a student of Ruparel college, Mumbai and Tilak Ayurved college in Pune. He also has received theatre training under the able guidence Mr. Prabhakar Gupte, the eminent 'natyaguru' at Bharat natya Mandeer, Pune.
His work :
Since then, there has been no looking back for Dr Anant. Famous by his profession name 'DOCTOR' in the team, he has been the whole and sole of Kalapini, and continues to lead the organisation with his uncanny ability to unite people for the benefit of the organisation.
With his vision of 'OUR OWN THEATRE' he, along with all the team members is striving hard to fulfill the long cherished dream. Doctor has been the source of inspiration to all the young generation in the organisation in whose hands lies the future, and he is the driving force to all the people, organisers, actors ,other artists and performers in any event.
His real passion is the THEATRE for which he has worked day night. He also wanted to fulfil the dream of his father to work for the progress of the people in Maval Taluka. Late Dr. Shankar Paranjape dedicated his life for the people. He and his wife Dr. Mangala thought that the arts enriched everyone's life, and started cultural activities.
Dr. Anant Paranjape also works passionately to make Kalapini succeed in all spheres of arts.
Apart from being a brilliant actor himself, he has directed many marathi plays, which were performed at the state and national level competitions and won various laurels for acting, direction lights, sets etc.
Winning the first prize for team, direction at the hands of veteran actor Raj Kapoor, is one of the sweet memories for Kalapini. Dr. Paranjape is recepient of numerous awrds for direction, acting and also as a best organisor.
His directed Marathi Classical Play 'Dhanya te gayani kala' won the prestigious Rajya Natya Paritoshik in 2003. Also Dr has been the comperer for most of the 'Diwali Pahat' events as well as interview and introduction of prominent film and theatre personalities, each year.
A visionary for Kalapini ,he has initiated the campaign in Maval, to carve out and boost the budding artist and good individuals, among the school going children.
A great fan of Indian music, he himself plays sitar and harmonium. His deep knowledge of music, dramatics and literature guides Kalapini in all walks of performances. His vision has prompted the birth of the Kala academy for music, drama and dance, for he feels that to be a good artists one has to learn all types of art well.
|
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8363
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dbpedia
|
0
| 1
|
https://www.imdb.com/name/nm1665363/
|
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...
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https://www.imdb.com/name/nm1665363/
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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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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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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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Lakhoba Lokhande (Prabhakar Panshikar) passes away... : www.MumbaiTheatreGuide.com
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Prabhakar Panshikar : 1931-2011
To Aata Navhech (He's No More)
Marathi theatre veteran Prabhakar Panshikar (1931-2011) succumbed to cardiac arrest and renal failure in Pune on Thursday. He was 79. He immortalized the role of Lakhoba Lokhande, the real life fraudster who married many times over and cheated all his 'wives', in Acharya Atre's TO MEE NAVECH (That is not me). Launched way back in 1962, the play went on to celebrate 2833 shows! The audience was mesmerized by its dramatic story, Panshikar's superlative six different roles and the revolving stage (phirta rangamanch). He is also remembered for his role as ruthless Aurangzeb in 'Ithe Oshalala Mrityu'. Among his other memorable plays are 'Ashrunchi Zhali Phule', 'Bhatala Dili Osari 'Thank You Mr Glad' and 'Jevha Gavtala Bhale Phuttat'.
He launched his banner Natya Sampada which is now helmed by his nephew Anant Panshikar, and a revived new version of the play 'Vichcha Majhi Poori Kara' has been launched. Panshikar fondly known as Pant was honoured with Acharya Atre, Bal Gandharva, Keshavrao Date Purskars and felicitated by the Sangeet Natak Akademi as well. He is survived by his wife, two daughters and a son. His son, Raghunandan is a classical singer of repute.
read / post your comments
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https://bookreviewbubbles.wordpress.com/2018/11/13/ani-kashinath-ghanekar/
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As I See It – Reviews Of Books Movies and Plays from Psychology's view
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2018-11-13T00:00:00
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A Dentist who is mocked by his father for not being a real doctor, has a passion for acting. He barges into the audition and convinces the writer Vasant Kanitkar and the producer that he is their Sambhaji in the play, Raigadala jeva jag yete and a typhoon, a madness is born that shakes the…
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As I See It - Reviews Of Books Movies and Plays from Psychology's view
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https://bookreviewbubbles.wordpress.com/2018/11/13/ani-kashinath-ghanekar/
|
A Dentist who is mocked by his father for not being a real doctor, has a passion for acting. He barges into the audition and convinces the writer Vasant Kanitkar and the producer that he is their Sambhaji in the play, Raigadala jeva jag yete and a typhoon, a madness is born that shakes the whole of Marathi theatre for times to come. He goes on to become the one actor on stage who makes people whistle in Marathi theatre, the first actor who gets an applause at his entry, whose name is announced last in the list of actors and he goes on to be one of his kind, the first superstar of Marathi Drama.
That craziness of memorable roles like Sambhaji,Lalya, Garambhi cha bapu, in plays that created history, those impulsive and whimsical decisions both in the face of little personal tragedies or inadequacies, as well as professional life makes for a heart racing biopic.
Somehow, this biopic gave me a feel of Devdas in the eyes of Dr Kashinath Ghanekar. It says faintly that he was a, brat of Marathi theatre but there were those little insults and provocations by either his own people or lady luck that justified his bratty behaviour. It indirectly portrayed the pitiable strife of the son trying to seek approval and accolades from people which he failed to receive from his father.
For the first time I realized that Prabhakar Panshikar was not only a great actor but a great human being as well as a friend.
All the characters as famous actors and well known figures in Marathi Theatre have a done good job, Subodh Bhave has proved that he is an excellent actor and same with Anand Ingle as Vasant Kanetkar and Sonali Kulkarni as Sulochana. Even Sumeet Raghavan as the intellectual Shriram Lagoo is adorable. The plus point on the writer’s and the director’s side is that the roles of the characters are very well defined. They do not fray their boundaries.
And lastly Kanchan Ghanekar from whose book the biopic has been inspired is one image of unconditional affection well portrayed by Vaidehi Parshurami.
All in all an informative as well as exciting portrayal of the crazy actor that Dr Kashinath Ghanekar was.
The movie for those like me who are not much aware of the history of Marathi theatre may seem clipped and reattached. The editing could have been better.
I liked the last dialogue of the movie that the first clap that the actor gets becomes the curse for him for if not for the clap, the actor could have become many other things like a good husband, a good son or a good friend but that one clap makes him only a great actor that he became.
A special mention of my friend Paritosh Pradhan, who has done the role of Raja Paranjape in this biopic.
Maitreyee
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https://en-academic.com/dic.nsf/enwiki/4692349
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Prabhakar Panshikar
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Infobox actor name = Prabhakar Panshikar caption = As Lakhoba Lokande in the Marathi drama To Mi Navhech . birthdate = birth date and age|1931|3|14 location = Mumbai, Maharashtra , India spouse = Vijaya Kulkarni occupation = Actor, Film Producer
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Academic Dictionaries and Encyclopedias
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Infobox actor
name = Prabhakar Panshikar
caption = As Lakhoba Lokande in the Marathi drama "To Mi Navhech".
birthdate = birth date and age|1931|3|14
location = Mumbai, Maharashtra , India
spouse = Vijaya Kulkarni
occupation = Actor, Film Producer, Writer
children = 3
Prabhakar Panshikar (Devnagari: प्रभाकर पणशीकर) (born 14 March 1931) is one of the greatest and genius stage actors in Maharashtra. His role of 'Lakhoba Lokhande' in the drama 'To Mi Navhech' is considered to be one of the immemorable roles presented so far on the Marathi stage. He is also the owner of Natyasampada, the well-known Marathi Drama Producing Organization.
Early Life & Family
Prabhakar Panshikar was born in a Karhade Brahmin Sanskrit scholar family in Phanswadi, Mumbai. Initially, he worked and acted under the able guidance of vetern Marathi Drama Director M.G.Rangnekar. Rangnekar gave him break in the play 'To Mi Navhech' by offering him the main role in 1962. The show became so popular that subsequently it was translated and presented into few other Indian languages like Gujarati and Kannada.
Panshikar is married to Mrs. Vijaya Kulkarni and they have three children and seven grand children. His elder daughter Janhavi Panshikar-Singh is also a versatile actor. She is married to TV actor Shakti Singh. Noted singer and disciple of Kishori Amonkar, Ragunandan Panshikar is the second child of Prabhakarji. He is married to Aparna Deshpande who is also a famous classical singer. They have two children. Youngest child is Tarangini Khot. She is gold medalist in Sanskrit. She is married to marine engineer Narendra Khot. They have two children.
His Select Popular Plays
*Bhatala Dili Osari
*To Me Navhech
*Ithe Oshalla Mrutyu
*Ashrunchi Zali Phule
*Thank You Mr.Glad
*Jevha Gavtala Bhale Phuttat
elect Plays Produced by him
*Sangeet Madanachi Manjiri
*Sangeet Suvarna Tula
*Katyar Kaljat Ghusali
*Andhar Maza Sobati
*Kimayagar
*Putrakameshti
His Honours & Awards
*Vishnudas Bhave SuvarnapadakFact|date=August 2007
*Rajarshee Shahu SuvarnapadakFact|date=August 2007
*Natyagaurav PuraskarFact|date=August 2007
*Sanget Natak Akademi PuraskarFact|date=August 2007
*Natasamrat Bal Gandharva Smriti PuraskarFact|date=August 2007
*Natashreshtha keshavrao Date PuraskarFact|date=August 2007
*Dr.Kashinath Ghanekar Smriti PuraskarFact|date=August 2007
*Natvarya Dattaram PuraskarFact|date=August 2007
*Acharya Atre PuraskarFact|date=August 2007
*Kalashri PuraskarFact|date=August 2007
*Uttung PuraskarFact|date=August 2007
*Maharashtra Gaurav PuraskarFact|date=August 2007
*Jagatik Marathi Parishad PuraskarFact|date=August 2007
*Dinanath Mangeshkar Smriti PuraskarFact|date=August 2007
*NatyaDarpan -'Man Of The Year'Fact|date=August 2007
*Natasamrat Nanasaheb Phatak Smriti PuraskarFact|date=August 2007
*Navratna PuraskarFact|date=August 2007
*Ratnappa Kumbhar PuraskarFact|date=August 2007
*Maharashtra Bhushan PuraskarFact|date=August 2007
*First Jeevan Gaurav Puraskar of State Govt., Maharashtra, later this award was named Prabhakar Panshikar award.Fact|date=August 2007
References
*Preface to 'To Me Navhech' by Pralhad Keshav Atre
*Autobiography 'Toch Me' by Prabhakar Panshikar
ee also
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Panshikar of 'To Mee Navech' fame dead
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2011-01-14T05:29:00+05:30
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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
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https://timesofindia.indiatimes.com/city/pune/panshikar-of-to-mee-navech-fame-dead/articleshow/7281101.cms
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8 flowers and plants that will attract birds to your garden
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Thespian Prabhakar Panshikar dies
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The soft smile and the trademark cap that was the trademark of veteran artiste Prabhakar Panshikar filled television screens across the state on Thurs
|
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|
The Times of India
|
https://timesofindia.indiatimes.com/city/mumbai/thespian-prabhakar-panshikar-dies/articleshow/7279968.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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https://www.filmijobs.com/filmijobs/news-articles/prasad-oak-and-abhijit-deshpande-join-hands-for-the-late-prabhakar-panshikars-biopic
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Prasad Oak And Abhijit Deshpande Join Hands For The Late Prabhakar Panshikar's Biopic
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Filmmaker Abhijeet Deshpande's last release historical film 'Har Har Mahadev' starring Subodh Bhave and Sharad Kelkar did well at the box office. Now, the filmmaker is all set to team up with actor-director Prasad Oak for the biopic of late Prabhakar Panshikar.Prasad Oak took to his Instagram handle to share this news with his fans and followers. Sharing the films title poster, Oak wrote,
|
en
|
https://www.filmijobs.com/filmijobs/news-articles/prasad-oak-and-abhijit-deshpande-join-hands-for-the-late-prabhakar-panshikars-biopic
|
Filmmaker Abhijeet Deshpande's last release historical film 'Har Har Mahadev' starring Subodh Bhave and Sharad Kelkar did well at the box office. Now, the filmmaker is all set to team up with actor-director Prasad Oak for the biopic of late Prabhakar Panshikar.
Prasad Oak took to his Instagram handle to share this news with his fans and followers. Sharing the films title poster, Oak wrote, "नवं वर्ष…नवं स्वप्न…सोबत जुनेच मित्र कलावंत…आणि…आशीर्वाद देणारे आहेत "पंत""
Prabhakar Panshikar, known as Pant, was known for his brilliant performances in Marathi plays. He hired veteran Marathi drama director M.G. Worked and acted under the guidance of Rangnekar. Panshikar spent 53 years on the stage and has more than 8000 performances to his credit.
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https://en.wikipedia.org/wiki/To_Mee_Navhech
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To Mee Navhech
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https://en.wikipedia.org/wiki/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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Raghunandan Panshikar Music Classic - Service Provider from Laxmi Nagar Parvati, Pune, India
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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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Natvarya Prabhakar Panshikar award to Datta Bhagat
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2022-06-01T20:15:02+05:30
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Natvarya Prabhakar Panshikar award to Datta Bhagat - Aurangabad, June 1: Prof Datta Bhagat has been awarded the Natvarya Prabhakar Panshikar Award by the Government of Maharashtra. ... Get Latest News on Aurangabad only on lokmattimes.com
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https://d3pc1xvrcw35tl.cloudfront.net/lt/assets/images/favicon-v0.2.ico
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Lokmat Times
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https://www.lokmattimes.com/aurangabad/natvarya-prabhakar-panshikar-award-to-datta-bhagat/
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Aurangabad, June 1:
Prof Datta Bhagat has been awarded the Natvarya Prabhakar Panshikar Award by the Government of Maharashtra. He had the honor of presiding over the Akhil Bharatiya Natya Sammelan. He has made significant contributions to Marathi literature through plays, reviews and ideological writings.
His Mahatma Jyotirao Phule's Tritiyaratna Drama research-oriented presentation changed the direction of Marathi Natya Wangmaya. The nature of this award is Rs 5 lakh and a memento. Bhagat said that Marathwada and backward classes were being neglected knowingly or unknowingly. I am offering this award to all those neglected artists. The tradition of play writing and artists in Marathwada should be at least a hundred years old. This has created a good atmosphere where people like me could breathe and write.
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https://en.wikipedia.org/wiki/Prabhakar_Panshikar
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Prabhakar Panshikar
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2007-01-13T11:18:34+00:00
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/Prabhakar_Panshikar
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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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Golden memories of the musical ‘Katyar’
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Exactly fifty years ago, three Goans – visionary producer of plays/ theatre producer, Prabhakar Panshikar; extraordinarily talented music composer, Pandit Jitendra Abhisheki; and immensely popular singer-actor, Pandit Prasad Sawkar – came together and created a Marathi stage musical, ‘Katyar Kaljat Ghusali’, which went on to become a milestone in the annals of Marathi stage history. Speaking to NT Network, PANDIT PRASAD SAWKAR shares the memories about this play, which celebrates its golden jubilee, this year
BY RAMNATH N PAI RAIKAR |
NT NETWORK
“It was somewhere around mid-1966 that the playwright and stage director from Nagpur, Purushottam Darvhekar came to meet me at the recording studio of His Master’s Voice (HMV), in Bombay, where I was invited to record two songs from the Marathi play, ‘Lagnachi Bedi’(Shackles of Marriage) written by the legendary Acharya Pralhad Keshav Atre,” the Octogenarian stage singer-actor, Pandit Prasad Sawkar recalled while narrating how he was introduced to ‘Katyar Kaljat Ghusali’ (Dagger pierced the heart), the play that went on to become a landmark production on the Marathi musical stage. Further pointing out, he said: “In the meeting room of the HMV, Darvhekar, who by then had not written any musical play, told me that he is planning to write one based on the legend of Mohammed Hussain, and wanted me to enact the lead role of Khansaheb Aftab Hussain Bareliwale as I at that time, was performing the roles of classical singer in two stage musicals namely ‘Panditraj Jagannath’ and ‘Mandarmala’, which were running in packed houses.”
Incidentally, the legend of Mohammed Hussain was already used by another playwright, Vidyadhar Gokhale in his 1963 play, ‘Mandarmala’. Hussain was the court musician in the princely state of Gwalior and was very secretive about his music, so much so that he used to do his riyaaz, the regular practice, in a well guarded place. Two other singers, Haddu Khan and Hassu Khan, who were brothers and aspired to become the court musicians by defeating Hussain, at the annual royal singing contest, bribed the guards and started clandestinely studying Husain’s singing style during his riyaaz. On the day of the contest, when the two brothers started challenging Hussain with his own style of singing, Hussain became alert and requested them to present the lung-pulverising musical device known as the ‘Kadak Bijli taan’, an extremely arduous type of singing method. Hassu Khan did so, but Hussain asked him to repeat it. Unfortunately Hassu Khan did not know that immediate repetition of the particular taan puts intense pressure on the lungs, and hence got his lungs ruptured, resulting in his death.
Sharing the memories of ‘Katyar…’ days, Pandit Sawkar said that a year later, he got a call from ‘Natyasampada’, a stage production company owned by Prabhakar Panshikar, informing that it would be producing Darvhekar’s play and he was being offered the lead role. “I was also invited for the Satyanarayana puja, where the play was to be launched,” he stated, adding that by this time, Pandit Jitendra Abhisheki was also a part of the team to compose the songs, and coming from a temple priest family, he even recited Sanskrit invocation verses, before we read out a part of the new play.”
Interestingly, the noted actor and owner of the Lalitkaladarsh Drama Company, Bhalchandra Pendharkar requested Panshikar to present the première of ‘Katyar…’ at a special event to be held in December 1967, in commemoration of the 60th year of establishment of his drama company.
Speaking further, Pandit Sawkar said: “By mid-1967, most of the preparations including selection of the cast were completed, however we were yet to find an actor to play the role of Sadashiv. At this point, I agreed to play Sadashiv and suggested the name of Vasantrao Deshpande for the role of Khansaheb, as I felt he was apt for that character. In fact, when I was staying near the S P College, in Pune from 1947 to 1950, Vasantrao lived next to my residence. He also used to visit our building to teach music to a young boy, and many-a-times, I went to listen to him. Furthermore, he had stayed in Lahore for many years during the earlier part of the 1940s and had picked up Urdu beautifully. All these qualities made me recommend his name to Panshikar.”
“Ironically, I received poor response from Darvhekar on my recommendation, but Panshikar nevertheless approached Vasantrao, and all the drawbacks of Vasantrao according to Darvhekar, including his drawn out manner of speaking became the strengths of his character, so much so that ‘Katyar…’ became synonymous with Vasantrao and vice versa,” Pandit Sawkar observed: “And therefore, many people have an impression that this play was written specially with Vasantrao in mind.”
“When I finally decided to play Sadashiv, I was required to sing “Ghei Chhand Makarand”, which was written in the meter of the song “Rati Rangi Range Dhyan” from another play. Abhisheki too maintained the tune of the original. I then suggested that he try a raga from Carnatic music, which incidentally I had earlier sung on the radio – Salag Warali – to tune this song,” Pandit Sawkar recalled, further adding: “And then there was another song for me, “Muralidhar Shyam” for which I had suggested Puriya Kalyan, but Abhisheki skillfully chose to tune it in Marwa Kalyan instead. Later, I recorded these two songs for HMV Company.”
Pandit Sawkar, speaking about the role of child Sadashiv, which was enacted by his son, Shekhar, stated that he picked up the basics of the role right from the beginning. “He had a very good voice, and knew exactly where the audiences would clap for him,” he informed, pointing out that Vasantrao had all praises for Shekhar’s acting and singing, and appreciated him all along.
“Any normal musical play requires a maximum of two months to get ready including its rehearsals, however we rehearsed for three months,” Pandit Sawkar informed, stating that the play also stood solid on the technical ground, using three revolving stages – one large, with two smaller ones on its either side – which was done for the first time in India. “Finally, when the first show of the play was presented before the audiences on December 24, 1967, at the Sahitya Sangh Mandir in Girgaum, it stretched to nearly five-and-a-half hours, including 30 to 45 minutes of speeches at the beginning, linked to the ‘Lalitkaladarsh’ function; the play however turned very engaging and people stayed till the very end,” he revealed, adding, “The producer nevertheless found it difficult to continue with such a long play and cut it short to three-and-a-half hours without harming the storyline, which unfortunately witnessed deletion of some of the best scenes as well as three songs from the play.”
“When the play completed 100 shows, it became difficult for me to give continuous dates for ‘Katyar…’ as I was simultaneously working in other plays too. I, at that time, was the lone actor on the Marathi musical stage, who was working with 7 to 8 famous drama companies. One day, as I returned home from a tour of another play, I noticed in the newspapers that I was replaced in ‘Katyar…’ by another actor, Atul alias Vidhyadhar Vyas. I was hurt that they did not even show the courtesy to inform me. And then I had even told Panshikar that I would provide him with a good replacement, and we two would enact the role of Sadashiv as per my availability,” Pandit Sawkar informed, “Besides this, I think another reason for replacing me with Atul could be my demand for an increase in my `150 ‘night’, the fee I used to receive per show. But then I feel that in spite of all the praises and all the audiences this play received, it was not a profit making production for Panshikar due to the exorbitant money spent on it, so much so that a special truck was needed to accompany our bus, carrying all the stage setting, during the tours of the play.”
“However, my relation with ‘Katyar…’ did not end here. It so happened, that Shankar Ghanekar, who played the role of poet Banke Bihari expired during a show of another drama in Konkan, and had to be replaced by Prakash Inamdar, who also left the play to join films. One day, while travelling in a bus, I met Faiyaz, who used to play the role of Khansaheb’s daughter, Zarina. She said that Panshikar wants me to enact the role of Banke Bihari. I didn’t react to the offer, went home and upon reading the script of the play, found that all the excellent dialogues written for that role, already existed in my memory,” Pandit Sawkar said, “I subsequently accepted the role and performed in much more shows then the shows in which I had acted as Sadashiv.”
‘Katyar…’ had the fortune of having illustrious personalities as its audiences ranging from Pandit Ravi Shankar to Pandit Bhimsen Joshi and from music director, S D Burman to singer, Hemant Kumar. Director, Hrishikesh Mukherjee, Music director, Madan Mohan and actor, Kanhaiyalal never missed a show when the play was staged anywhere in Mumbai, with Kanhaiyalal ending up watching more than 100 shows and was also felicitated by ‘Natyasampada’. The play never went out of circulation as long as Vasantrao stood up as Khansaheb, until his death in 1983.
“Interestingly, many people were of the firm opinion that ‘Katyar…’ would surely fail to attract the audiences; some of them even retorting that this play, from its name, appears to be written by the then popular detective novel writer, Baburao Arnalkar,” Pandit Sawkar said on a parting note, pointing out that only when it became clear that the tile of the play was inspired by the thumri, “Lagi Kalejva Katar” used in the play, were they satisfied with the ‘musical dagger’. “Nevertheless, it is impossible to predict the destiny of any play; some of them anticipated to be successes just withered away, while some like ‘Katyar Kaljat Ghusali’ created history even when they were expected to fail,” he concluded.
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https://currentaffairs.freejobalert.com/actor-jayant-sawarkar-to-get-maha-lifetime-award-for-theatre/40208/
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Actor Jayant Sawarkar to get Maha Lifetime award for theatre
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2018-11-09T10:10:27+05:30
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Actor Jayant Sawarkar to get Maha Lifetime award for theatre
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https://currentaffairs.freejobalert.com/actor-jayant-sawarkar-to-get-maha-lifetime-award-for-theatre/40208/
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Marathi actor Jayant Sawarkar will be awarded the Maharashtra government’s Natvarya Prabhakar Panshikar Lifetime Achievement award in the field of theatre. Also, Tabla artist Vinayak Thorat will be awarded the Sangeet Acharya Annasaheb Kirloskar Lifetime Achievement. Both the awards consist of cash prizes of Rs 5 lakh, citation and memento each. Dates for the presentation of the awards have not yet been announced.
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Latest Bollywood Movies Reviews
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We are sorry, the page you are requested can not be found.
Please try the following links below.
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https://map.sahapedia.org/article/Raghunandan-Panshikar/2898
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Raghunandan Panshikar
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https://map.sahapedia.org/article/Raghunandan-Panshikar/2898
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http://raghunandanpanshikar.com/
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Raghunandan Panshikar
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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 âGayakiâ has evolved into a unique and original style enriched immensely by influences of several contemporary maestros. Decades of relentless âriyazâ 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 vocalistâs accomplishments.
Playback Singing :
The Hindi art-film by Govind Nihalani, âDrishtiâ, whose music was composed by Kishori-ji.
Albums as a Music Composer/Director :
Several albums solely composed by him have been released by reputed Music companies
The series of âHealth Mantraâ by Times Music
âManas Pujaâ and Devi by HMV Sa Re Ga Ma
Omkaranand Darshanam
Omkaranand Vandanam
âKaivari Hanumanâ
Ramakrishna Bhajanamrut
âMore Sawariyaâ (Fusion music)
Albums as a lead singer :
He has also worked for several noted music directors for their albums such as
Kaushal Inamdar
Mithilesh Patankar
Nilesh Mohrir
Jeevan Dharmadhikari
Narendra Bhide
Kedar Pandit
Dr. Sunil Kale
Milind Joshi
Notable Awards :
Smt.Manik Verma Puraskar (2005, Pune)
'Dattopant Deshpande Puraskar' (1992, Pune)
âSangeet Kala Ratna Puraskarâ (2000, Patna)
Upadhye Smriti Puraskar for contribution in Indian Classical Music
Prabha Atre Gaurav Puraskar
Music Direction for Marathi Theatre :
Raghunandan has earned accolades for original music score for the Marathi play 'Avagha Ranga Ekachi Jala' written by Dr. Meena Nerurkar and produced by Natyasampada.
Zee Gaurav Puraskar
Maharashtra Times Sanman
An Award from the Government of Maharashtra
Pt. Ramkrishnabua Vaze Puraskar
âJagne whawe gaaneâ â a play produced by NatyaSampada
âSwargiya Ghotalaâ - a play produced by the Nehru Center, Mumbai
International Tours :
Raghunandan has toured extensively across India, the U.S., Europe, and the Middle East.
Several audio and video clippings of Raghunandan are available on You Tube and âSaavnâ
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As we celebrate legendary actor/producer late Prabhakar Panshikar’s 90th birthday today, we would like to announce that in the coming year we will be...
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As we celebrate legendary actor/producer late Prabhakar Panshikar’s 90th birthday today, we would like to announce that in the coming year we will be...
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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/as-we-celebrate-legendary-actorproducer-late-prabhakar-panshikars-90th-birthday-/200955884507423/
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Pt. Raghunandan Panshikar Vocal Recital
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2024-08-15T18:31:42.800843+00:00
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Based in South Riding, NaadRang DC is a non-profit Indian Music Organization organizing multiple Indian classical music concerts during the year.
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NaadRang DC
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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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Thespian Prabhakar Panshikar dies
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[
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] |
2011-01-14T01:01:00+05:30
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The soft smile and the trademark cap that was the trademark of veteran artiste Prabhakar Panshikar filled television screens across the state on Thurs
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The Times of India
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https://timesofindia.indiatimes.com/city/mumbai/thespian-prabhakar-panshikar-dies/articleshow/7279968.cms
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8 flowers and plants that will attract birds to your garden
Lifestyle
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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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https://www.indianetzone.com/32/prabhakar_vishnu_panshikar_indian_theatre_personality.htm
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en
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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://imshouston.org/event/pandit-raghunandan-panshikar/
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Pandit Raghunandan Panshikar – Indian Music Society of Houston
|
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en
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https://imshouston.org/event/pandit-raghunandan-panshikar/
|
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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Maha announces Lifetime Awards
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"annasahebkirloskar",
"liladharkambli",
"chandrakantdegvekar",
"जीवनगौरव",
"लीलाधरकांबळी",
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"कांबली",
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[] |
2016-11-05T19:25:00+00:00
|
Mumbai- Maharashtra Government announced Natvarya Prabhakar Panshikar Award and Annasaheb Kirloskar award to Liladhar Kambli and Chandrakant Degvekar respectively. Both awards comprising cash prize of Rs. five lakh each, citation and a memento.
Liladhar Kambli stepped in theater through ‘Kala
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/build/images/favicon/apple-touch-icon-57x57-063ec5df6c.png
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Mumbai Live
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https://www.mumbailive.com/en/entertainment/maha-announces-lifetime-awards-2967
|
Mumbai- Maharashtra Government announced Natvarya Prabhakar Panshikar Award and Annasaheb Kirloskar award to Liladhar Kambli and Chandrakant Degvekar respectively. Both awards comprising cash prize of Rs. five lakh each, citation and a memento.
Liladhar Kambli stepped in theater through ‘KalaVaibhav’ theater academy. ‘Nayan Tujhe Jaadugar’ play was a hit which was followed by ‘Kachecha Chandra’, ‘Saubhagya’, ‘Himalayachi Savali’, ‘Dubhang’, ‘Kasturimrug’, ‘Vatrat Mele’. He has also worked in ‘Funny thing called love’ play which was directed by Bharat Dabholkar.
Chandrakant a.k.a Chandu Degvekar is a good singer and actor as well. He acted in the play Panditraj Jagganath in 1968 and became rage. Then he acted in many plays such as ‘Bavankhani’, ‘Rakt Nako Maj Prem Have’, ‘Duritanche Timir Javo’, ‘Madnachi Manjiri’, ‘Mandarmala’ and ‘Jay Jay Gauri Shankar’.
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Krishna Arjun Borkar
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https://ssl.gstatic.com/atari/images/public/favicon.ico
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https://ssl.gstatic.com/atari/images/public/favicon.ico
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Birth: 16th November 1962 at Chinchkhari, Ratnagiri
Make up done in first drama “Sudachi Pratigya” on 23 Aug 1943. Worked for 10 years mostly for historical and mythological dramas. His guru was Late Pandurang Hule. Few years worked in Hindi cinema with Shri Vinayak Kavlekar. Worked as an
|
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https://ssl.gstatic.com/atari/images/public/favicon.ico
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https://sites.google.com/site/worldborikars/know-your-borikars-stalwarts/borikar-s-of-present-time/krishna-borkar
|
Birth: 16th November 1962 at Chinchkhari, Ratnagiri
Make up done in first drama “Sudachi Pratigya” on 23 Aug 1943. Worked for 10 years mostly for historical and mythological dramas. His guru was Late Pandurang Hule. Few years worked in Hindi cinema with Shri Vinayak Kavlekar. Worked as an assistant make up man in “Do aankhen baarah haath”. He got to learn new perspectives in makeup from Shri V. Shantaram. Worked with eminent artists of Chandralekha group of Shri Mohan Wagh.
Awards: For “Goodbye Doctor” awarded makeup man of the year (Natyadarpan 1977)
Loksatta, Akhil Bhartiya Natya Parishad felicitated as Accomplished Makeup artist.
Shri Sharad Pawar felicitated him at Baramati.
In 2009 recently received Keshavrao Datey award.
Worked as makeup artist for accomplished actors like Late Keshavrao Datey, Late Baburao Pendharkar, Late Master Dattaram, Late Nanasaheb Phatak, Late Arun Sarnaik, Late Yeshwant Dutt, Late Chandrakant Gokhale, Late Satish Dubhashi, Shri Prabhakar Panshikar, Shri Madhukar Toradmal, and Shri Vikram Gokhale.
Teaches make up in theatre institutions, and drama workshops. Presently teaching in Mumbai University’s Theatre department.
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https://archive.org/details/in.gov.maharashtra.gr.201812241508538523
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Maharashtra GR: #201812241508538523 : Government of Maharashtra : Free Download, Borrow, and Streaming : Internet Archive
|
https://archive.org/services/img/in.gov.maharashtra.gr.201812241508538523
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https://archive.org/services/img/in.gov.maharashtra.gr.201812241508538523
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Maharashtra Government Resolution: Title: Approval for organising the veteran actor Prabhakar Panshikar stage life achievement award and Music Maestro Balvant...
|
en
|
Internet Archive
|
https://archive.org/details/in.gov.maharashtra.gr.201812241508538523
|
Search the history of over 866 billion web pages on the Internet.
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https://www.mumbaitheatreguide.com/dramas/interviews/vighnesh-joshi-theatre-actor-interview.asp
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Interview With Vighnesh Joshi Interview : www.MumbaiTheatreGuide.com
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it is always said, the writer and director make almost 90% of the roles performed by any actor. It is the duty of the actor to only put in the rest of 10% to make it complete....
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Vighnesh Joshi started his career on stage as a harmonium player. "During those times, "he says, "Sangeet Natak were in fashion and I got my first break. I worked in RADHESHYAM MAHARAJ, SWAYAMWAR etc. as a harmonium player. It so happened that Prabhakar Panshikar's harmonium player was not able to make it and I was asked if I can manage the show, which of-course I agreed to. Panshikar possibly liked my performance which was hardly for 15 minutes and from there my career picked up. I was then asked if I would like to enact a role in a play. I didn't have any experience apart from performing at Ganeshotsav Pandals and had never done that. Still Prabhakarji insisted. He told me that there was a show coming up in 15 days, which I could try for. Which I did and read the script as directed. They liked my reading and selected me for the role. I could read and remember the whole play script in a span of about 45 days. Going forward, apart from playing female roles, I almost played every available character in a play. I also used to sing well and I started singing as well."
By Neha Paranjpe
"Similarly, there was a character named Shyam Sarangapani, which was exactly my age. I thought, I am getting to learn so many things from Panshikars, I decided to give it a shot. I took my own clothes and performed. It was a very small role but a central one. This also gave me good exposure.
"In another instance, I was called to play the role of Appa as the actor who hailed from Pune was not well and could not make it. I was able to perform well and was liked by the audience. This play was ASHRUNCHI ZALI PHULE, which was very famous. Panshikar was planning to make the next Sangeet Natak KATYAR KALJAT GHUSLI, because after 1967 there were no shows and he wanted to revive it in 1998. The main harmonium player, because of some heart ailment, could not make it to Mumbai. Panshikar said, no problem, I will make sure that Vighnesh is ready by that time. In the autobiography of Panshikar, he has mentioned that the mouth organ played during the first show of KATYAR KALJAT GHUSLI, used by Vasantrao Deshpande, was given to me as a gift. Earlier, I did not have any experience of this genre, but it was an experience in itself. Playing qawwali and other songs of different types was made possible by help from others.
"During this play, I got to know Mohan Wagh Sir. He was planning to start the PLAY ALL THE BEST and he wanted to create another team. He gave me the role of the blind person. But then, VARYAVARCHI VARAAT was being scheduled and Mohan Sir asked me to concentrate on this play instead of ALL THE BEST. Since I had the habit of memorizing the complete play, I kept on getting more and more roles one after the other. BATATYACHI CHAWL, VARYAVARCHI VARAAT were the most famous ones."
He admits that he got many roles because another actor could not make it. "Many times, it so happens that we may not be the best in what we are doing but we can still perform and win the audiences. That's how Ravi Shastri also is recognized as he was a useful player to the team. Similarly, my case was. I was fresh, I was very sincere and that's why Panshikar always liked me and I started getting many roles."
Vighnesh names Chandrakant Kulkarni as one of his all-time favourite directors. "I performed for him in plays like VARYAVARCHI VARAAT and BATATYACHI CHAWL. In one of the plays SHANTATA COURT CHALU AAHE, I played a very small role. I remember, on the first day, he said, your role is very small but it has been written by Vijay Tendulkar. So, this one is a core role and it is really suitable for your type of nature. Chandu Sir explained to me the role with all its expressions and glory. I still cherish that experience, and all credit goes to Vijay Tendulkar's writing style and the direction of Chandu Sir. Similar is the case of HIMALAYACHI SAWALI. I only performed the way I was taught by Pradhyapak Vasant Kanetkar and director Rajesh Deshpande. That's why it is always said, the writer and director make almost 90% of the roles performed by any actor. It is the duty of the actor to only put in the rest of 10% to make it complete. The most cherished comments were provided by the brother of Ashok Saraf. He mentioned that Ashok performed this well, but your style is different and it makes the role more memorable. This compliment was really special to me. Mohandas Sukhtankar, Jayant Sawarkar and some other renowned artistes also provided me with great compliments. Nirmitee Sawant actually hugged me and said, you have shown to the world that a vagabond person can also be made lovable. One of my personal favorites was BECHKI, but it did not do well commercially. I had acted the role of Satish Lokhande and was really well written. Chinmay Mandlekar was the writer, producer and director. The role of the villain was really liked by audiences."
Vighnesh is very fond of reading, particularly classics. "I may not be able to sum how much and how many writers and books I have read. I have most of the plays by heart and hence, I had to read a lot of books again and again. At my home, me, my wife and my son, all love to read books. My wife sings with the tambura, I play a bit of harmonium and we can make a musical event out of nowhere. Our programmes are called Tapalseva."
He also runs a business and has to toss between what he loves more. "I love to run the mango business, maybe more than acting. Though my passion will always remain acting. Plays will be always deep within my heart, but once you grow old, there are times when you have to think how to make ends meet and that's where the business comes into picture. To quote from Pu La's ANTU BARWA, Jawai Bapu, natak karta te thik pan pota panyasaathi kaay karta? (Doing theatre is all very well, but what do you do for a living?) "
*Neha Paranjpe is an anchor, radio jockey and actor
read / post your comments
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Note: We are in the process of updating this page with famous personalities used to stay at Manda-Titwala (stay period should be minimum one year). If you know such name please contact us to update the details in this page (publishing will be done only after reviewing the details).
Shri. Daji Panshikar
Daji Panshikar is a famous writer, brother of famous theator actor Prabhakar Panshikar. He has written various books, few popular names are: Mahabharat Ek Sudacha Pravas, Kapatniti, Karn Khara Kon Hota.
Late. Shri. Ramachandra Dasakkar [Dada Dasakkar]
Shri. Ramachandra Eknath Dasakkar was born on Aug 22, 1936 at Gwalior [Madhya Pradesh, India]. He was the successor of Gwalior Gharana and son of legendary musician Eknath Dasakkar. He rendered his sublime services as HOD Violin Dept. for 14 yrs at IMFA Jammu and stepped into IMFA in 1972 as teaching faculty on contractual basis. He has establish the Nutan Sangeet Vidyalaya and was the pure epitome of Guru Shishya Parampara and divine teacher of music beside humanist paar-excellent. He also played violin with Pt. Bhimesen Joshi, Lata Mangeshkar, Reshma, Manna Dey, Mehdi Hassan, Jagjit Singh and many others.
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Lakhoba Lokhande (Prabhakar Panshikar) passes away... : www.MumbaiTheatreGuide.com
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https://www.mumbaitheatreguide.com/dramas/Articles/11/jan/favicon.ico
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Prabhakar Panshikar : 1931-2011
To Aata Navhech (He's No More)
Marathi theatre veteran Prabhakar Panshikar (1931-2011) succumbed to cardiac arrest and renal failure in Pune on Thursday. He was 79. He immortalized the role of Lakhoba Lokhande, the real life fraudster who married many times over and cheated all his 'wives', in Acharya Atre's TO MEE NAVECH (That is not me). Launched way back in 1962, the play went on to celebrate 2833 shows! The audience was mesmerized by its dramatic story, Panshikar's superlative six different roles and the revolving stage (phirta rangamanch). He is also remembered for his role as ruthless Aurangzeb in 'Ithe Oshalala Mrityu'. Among his other memorable plays are 'Ashrunchi Zhali Phule', 'Bhatala Dili Osari 'Thank You Mr Glad' and 'Jevha Gavtala Bhale Phuttat'.
He launched his banner Natya Sampada which is now helmed by his nephew Anant Panshikar, and a revived new version of the play 'Vichcha Majhi Poori Kara' has been launched. Panshikar fondly known as Pant was honoured with Acharya Atre, Bal Gandharva, Keshavrao Date Purskars and felicitated by the Sangeet Natak Akademi as well. He is survived by his wife, two daughters and a son. His son, Raghunandan is a classical singer of repute.
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Prabhakar Panshikar
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Profile and biography of Prabhakar Panshikar
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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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‘Gaanasaraswati Mahotsav 2020’ to commence on the 7th February in Pune
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Pune - ‘Gaanasaraswati Mahotsav 2020’ to commence on the 7th February in Pune
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https://www.punekarnews.in/gaanasaraswati-mahotsav-2020-to-commence-on-the-7th-february-in-pune/
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Pune, January 24, 2020 : Natyasampada Pratishthan founded by the legendary Actor-Producer from Marathi theatre, late Prabhakar Panshikar, commenced a melodious endeavor, ‘Gaanasaraswati Mahotsav’, a Classical Music festival in 2013. This event acknowledges and celebrates the exceptional contribution of late Kishori Amonkar in the field of Indian classical music, the great Vocalist of Jaipur Atrauli Gharana, known by the respected title ‘GaanaSaraswati’.
This year’s Gaanasaraswati Mahotsav will take place from February 7th to February 9th at Mahalaxmi Lawns, near Rajaram Bridge, Pune. This grand three-day festival of Indian classical music will feature a beautiful blend of veteran artists and talented young artistes. HARMAN, a wholly- owned subsidiary of Samsung Electronics co. Ltd. focused on connected technologies and solutions for automotive, consumer & enterprise markets, has been associated with this event as the title sponsor since the event’s inception. Fleetguard has been the event’s Foundation Partner since the beginning. This year’s event is also co-sponsored by Lupin, Soujanya Colors, Bank of Maharashtra, Indo Schöttle, Zacco, Jai Kajal, Belwalkar Housing and others.
The festival will commence on Friday, 7th February at 5.00 PM with a vocal recital by Pandit Uday Bhawalkar, leading exponent of Dhrupad Gayki. He will be followed by senior Sitarist Pt. Kushal Das from Kolkata. This session will end with a vocal recital by Vidushi Shruti Sadolikar-Katkar, the senior artiste of the Jaipur-Atrauli Gharana.
The second day of the festival, Saturday, 8th February, will begin at 5.00 PM with a performance by Taal Yogi Pandit Suresh Talwalkar and his group – Taal Yatra. They will be followed by Manjusha Patil of Gwalior and Jaipur Gharana. The session will conclude with the vocal recital by the veteran vocalist Pt. Venkatesh Kumar, renowned artist belonging to Gwalior and Kirana Gharana.
The morning session of the third day of the festival will begin at 9.00 AM on Sunday, 9th February. The session will start with a vocal performance by Arshad Ali. He will be followed by vocalist Bhargavi Venkatram, who is a reputed Carnatic classical artist. The session will conclude with a unique performance, ‘Unsung Kishori Tai’, in which Pt. Raghunandan Panshikar and Vidushi Devki Pandit will together present different and unheard compositions of Gaanasaraswati Kishori Amonkar. This performance has a special focus on Ghazals showing Kishoritai’s versatile creativity.
The evening and the last session of the event will begin at 5:00 PM on Sunday, 9th February, which will start with a vocal performance by Sawani Shende-Sathye. She will be followed by the young and famous Kathak dancer Vishal Krishna. The festival will end with a classical performance of Pt. Raghunandan Panshikar. Rahul Solapurkar will be compering the entire event of this year.
The event will also include special felicitations. Pandit Venkatesh Kumar, veteran vocalist of Gwalior and Kirana Gharana will be felicitated with the prestigious ‘Gaanatapaswini Mogubai Kurdikar Puraskar’. Pandit Yogesh Samsi (Tabla) will be honored with the ‘Gaanasaraswati Kishori Amonkar Sangatkar Puraskar’ for his contribution in the field of accompaniment, solo performance and teaching.
Arshad Ali will be felicitated with the ‘Gaanasaraswati Kishori Amonkar Yuva Puraskar’ instituted last year. This particular award is supported by Belvalkar Kala Manch.
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Raghunandan Panshikar Music Classic - Service Provider from Laxmi Nagar Parvati, Pune, India
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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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The revivalist
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2013-08-21T00:00:00
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India Today
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https://www.indiatoday.in/magazine/india/story/the-revivalist-765280-2013-08-21
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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://en-academic.com/dic.nsf/enwiki/4692349
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Prabhakar Panshikar
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Infobox actor name = Prabhakar Panshikar caption = As Lakhoba Lokande in the Marathi drama To Mi Navhech . birthdate = birth date and age|1931|3|14 location = Mumbai, Maharashtra , India spouse = Vijaya Kulkarni occupation = Actor, Film Producer
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https://en-academic.com/favicon.ico
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Academic Dictionaries and Encyclopedias
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https://en-academic.com/dic.nsf/enwiki/4692349
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Infobox actor
name = Prabhakar Panshikar
caption = As Lakhoba Lokande in the Marathi drama "To Mi Navhech".
birthdate = birth date and age|1931|3|14
location = Mumbai, Maharashtra , India
spouse = Vijaya Kulkarni
occupation = Actor, Film Producer, Writer
children = 3
Prabhakar Panshikar (Devnagari: प्रभाकर पणशीकर) (born 14 March 1931) is one of the greatest and genius stage actors in Maharashtra. His role of 'Lakhoba Lokhande' in the drama 'To Mi Navhech' is considered to be one of the immemorable roles presented so far on the Marathi stage. He is also the owner of Natyasampada, the well-known Marathi Drama Producing Organization.
Early Life & Family
Prabhakar Panshikar was born in a Karhade Brahmin Sanskrit scholar family in Phanswadi, Mumbai. Initially, he worked and acted under the able guidance of vetern Marathi Drama Director M.G.Rangnekar. Rangnekar gave him break in the play 'To Mi Navhech' by offering him the main role in 1962. The show became so popular that subsequently it was translated and presented into few other Indian languages like Gujarati and Kannada.
Panshikar is married to Mrs. Vijaya Kulkarni and they have three children and seven grand children. His elder daughter Janhavi Panshikar-Singh is also a versatile actor. She is married to TV actor Shakti Singh. Noted singer and disciple of Kishori Amonkar, Ragunandan Panshikar is the second child of Prabhakarji. He is married to Aparna Deshpande who is also a famous classical singer. They have two children. Youngest child is Tarangini Khot. She is gold medalist in Sanskrit. She is married to marine engineer Narendra Khot. They have two children.
His Select Popular Plays
*Bhatala Dili Osari
*To Me Navhech
*Ithe Oshalla Mrutyu
*Ashrunchi Zali Phule
*Thank You Mr.Glad
*Jevha Gavtala Bhale Phuttat
elect Plays Produced by him
*Sangeet Madanachi Manjiri
*Sangeet Suvarna Tula
*Katyar Kaljat Ghusali
*Andhar Maza Sobati
*Kimayagar
*Putrakameshti
His Honours & Awards
*Vishnudas Bhave SuvarnapadakFact|date=August 2007
*Rajarshee Shahu SuvarnapadakFact|date=August 2007
*Natyagaurav PuraskarFact|date=August 2007
*Sanget Natak Akademi PuraskarFact|date=August 2007
*Natasamrat Bal Gandharva Smriti PuraskarFact|date=August 2007
*Natashreshtha keshavrao Date PuraskarFact|date=August 2007
*Dr.Kashinath Ghanekar Smriti PuraskarFact|date=August 2007
*Natvarya Dattaram PuraskarFact|date=August 2007
*Acharya Atre PuraskarFact|date=August 2007
*Kalashri PuraskarFact|date=August 2007
*Uttung PuraskarFact|date=August 2007
*Maharashtra Gaurav PuraskarFact|date=August 2007
*Jagatik Marathi Parishad PuraskarFact|date=August 2007
*Dinanath Mangeshkar Smriti PuraskarFact|date=August 2007
*NatyaDarpan -'Man Of The Year'Fact|date=August 2007
*Natasamrat Nanasaheb Phatak Smriti PuraskarFact|date=August 2007
*Navratna PuraskarFact|date=August 2007
*Ratnappa Kumbhar PuraskarFact|date=August 2007
*Maharashtra Bhushan PuraskarFact|date=August 2007
*First Jeevan Gaurav Puraskar of State Govt., Maharashtra, later this award was named Prabhakar Panshikar award.Fact|date=August 2007
References
*Preface to 'To Me Navhech' by Pralhad Keshav Atre
*Autobiography 'Toch Me' by Prabhakar Panshikar
ee also
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Prashant Damle
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Prashant Damle is a Marathi actor, comedian who has acted in numerous Marathi drama, movie and Soap opera over 35 years. He has been associated with Marathi theatre since 1983 and till date has performed in 27 different plays and a variety of hundreds of roles. Damle is widely recognized as the biggest ultimate superstar of Marathi theatre.
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Wikiwand
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https://www.wikiwand.com/en/Prashant_Damle
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Prashant Damle (born 5 April 1961) [1] is a Marathi actor, comedian who has acted in numerous Marathi drama, movie and Soap opera over 35 years. He has been associated with Marathi theatre since 1983 and till date has performed in 27 different plays and a variety of hundreds of roles. Damle is widely recognized as the biggest ultimate superstar of Marathi theatre.
Quick Facts Born, Nationality ...
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As I See It – Reviews Of Books Movies and Plays from Psychology's view
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2018-11-13T00:00:00
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A Dentist who is mocked by his father for not being a real doctor, has a passion for acting. He barges into the audition and convinces the writer Vasant Kanitkar and the producer that he is their Sambhaji in the play, Raigadala jeva jag yete and a typhoon, a madness is born that shakes the…
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https://s1.wp.com/i/favicon.ico
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As I See It - Reviews Of Books Movies and Plays from Psychology's view
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https://bookreviewbubbles.wordpress.com/2018/11/13/ani-kashinath-ghanekar/
|
A Dentist who is mocked by his father for not being a real doctor, has a passion for acting. He barges into the audition and convinces the writer Vasant Kanitkar and the producer that he is their Sambhaji in the play, Raigadala jeva jag yete and a typhoon, a madness is born that shakes the whole of Marathi theatre for times to come. He goes on to become the one actor on stage who makes people whistle in Marathi theatre, the first actor who gets an applause at his entry, whose name is announced last in the list of actors and he goes on to be one of his kind, the first superstar of Marathi Drama.
That craziness of memorable roles like Sambhaji,Lalya, Garambhi cha bapu, in plays that created history, those impulsive and whimsical decisions both in the face of little personal tragedies or inadequacies, as well as professional life makes for a heart racing biopic.
Somehow, this biopic gave me a feel of Devdas in the eyes of Dr Kashinath Ghanekar. It says faintly that he was a, brat of Marathi theatre but there were those little insults and provocations by either his own people or lady luck that justified his bratty behaviour. It indirectly portrayed the pitiable strife of the son trying to seek approval and accolades from people which he failed to receive from his father.
For the first time I realized that Prabhakar Panshikar was not only a great actor but a great human being as well as a friend.
All the characters as famous actors and well known figures in Marathi Theatre have a done good job, Subodh Bhave has proved that he is an excellent actor and same with Anand Ingle as Vasant Kanetkar and Sonali Kulkarni as Sulochana. Even Sumeet Raghavan as the intellectual Shriram Lagoo is adorable. The plus point on the writer’s and the director’s side is that the roles of the characters are very well defined. They do not fray their boundaries.
And lastly Kanchan Ghanekar from whose book the biopic has been inspired is one image of unconditional affection well portrayed by Vaidehi Parshurami.
All in all an informative as well as exciting portrayal of the crazy actor that Dr Kashinath Ghanekar was.
The movie for those like me who are not much aware of the history of Marathi theatre may seem clipped and reattached. The editing could have been better.
I liked the last dialogue of the movie that the first clap that the actor gets becomes the curse for him for if not for the clap, the actor could have become many other things like a good husband, a good son or a good friend but that one clap makes him only a great actor that he became.
A special mention of my friend Paritosh Pradhan, who has done the role of Raja Paranjape in this biopic.
Maitreyee
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Maharashtra GR: #201812241508538523 : Government of Maharashtra : Free Download, Borrow, and Streaming : Internet Archive
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https://archive.org/services/img/in.gov.maharashtra.gr.201812241508538523
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Maharashtra Government Resolution: Title: Approval for organising the veteran actor Prabhakar Panshikar stage life achievement award and Music Maestro Balvant...
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Internet Archive
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img/apple-icon-57x57.png
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âGaana Saraswati Mahotsavâ, a Classical Music festival organised by Natyasampada Pratishthan enters into its 9th edition planned for March 4 and 5, 2023.
As we all are inching towards normalcy after the global pandemic, we believe that music and art have the power to heal and provide comfort, solace, and positive energy and this and other events we would be planning are our small contributions in that effort.
The event has been named after Gaana Saraswati Padma Vibhushan Smt. Kishori Amonkar to honour and celebrate her contribution in the field of Indian Classical Music. This event is a tribute to this legendary and phenomenal artiste who with her lifelong pursuit of music and complete dedication to the art, not only carved a niche for herself but also created a new path for others to follow.
Natyasampada Pratishthan was founded in 2006 by late Shri. Prabhakar Panshikar, the legendary actor and producer of the Marathi theatre. Our objectives include research and promotion of Theatre, Sanskrit Literature, and Indian Classical and other music. Our goals also include spreading the rich culture of Indian arts and music to the masses including the young generation.
Besides the performances, this edition will also feature the following :
Felicitation of Dr. Alka Deo Marulkar with the "Gaanatapaswini Mogubai Kurdikar Puraskar" which we started in 2015, for her exemplary contribution in Classical Vocal Music as an accomplished artiste and a teacher.
Felicitation of Pandit Omkar Gulvady with the "Gaanasaraswati Kishori Amonkar Sangatkar Puraskar" which we started in 2015, for his exemplary contribution in Classical Music as an accomplished Tabla Accompanist and a teacher.
Natyasampada Pratishthan was founded in 2006 by late Shri. Prabhakar Panshikar, the legendary actor and producer of the Marathi theatre. Our objectives include research and promotion of Theatre, Sanskrit Literature, and Indian Classical and other music. Our goals also include spreading the rich culture of Indian arts and music to the masses including the young generation. With these goals, we have started organising âGaana Saraswati Mahotsavâ since 2013. The event has been named after Gaana Saraswati Padma Vibhushan Smt. Kishori Amonkar to honour and celebrate her contribution in the field of Indian Classical Music. Artistes who have performed in all the editions have included senior legendary artistes as well as talented upcoming artistes. As part of our goals of spreading music to the masses, we have also organised lectures by Smt. Amonkar herself on different scientific and aesthetic aspects of Indian Classical Music. We intend to build upon such initiatives in future.
|
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| 37
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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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[
"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
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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
|
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https://www.filmijobs.com/filmijobs/news-articles/prasad-oak-and-abhijit-deshpande-join-hands-for-the-late-prabhakar-panshikars-biopic
|
en
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Prasad Oak And Abhijit Deshpande Join Hands For The Late Prabhakar Panshikar's Biopic
|
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"Prasad Oak And Abhijit Deshpande Join Hands For The Late Prabhakar Panshikar's Biopic News",
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Filmmaker Abhijeet Deshpande's last release historical film 'Har Har Mahadev' starring Subodh Bhave and Sharad Kelkar did well at the box office. Now, the filmmaker is all set to team up with actor-director Prasad Oak for the biopic of late Prabhakar Panshikar.Prasad Oak took to his Instagram handle to share this news with his fans and followers. Sharing the films title poster, Oak wrote,
|
en
|
https://www.filmijobs.com/filmijobs/news-articles/prasad-oak-and-abhijit-deshpande-join-hands-for-the-late-prabhakar-panshikars-biopic
|
Filmmaker Abhijeet Deshpande's last release historical film 'Har Har Mahadev' starring Subodh Bhave and Sharad Kelkar did well at the box office. Now, the filmmaker is all set to team up with actor-director Prasad Oak for the biopic of late Prabhakar Panshikar.
Prasad Oak took to his Instagram handle to share this news with his fans and followers. Sharing the films title poster, Oak wrote, "नवं वर्ष…नवं स्वप्न…सोबत जुनेच मित्र कलावंत…आणि…आशीर्वाद देणारे आहेत "पंत""
Prabhakar Panshikar, known as Pant, was known for his brilliant performances in Marathi plays. He hired veteran Marathi drama director M.G. Worked and acted under the guidance of Rangnekar. Panshikar spent 53 years on the stage and has more than 8000 performances to his credit.
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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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[
"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
|
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https://www.mumbaitheatreguide.com/dramas/Articles/11/jan/15-prabhakar-panshikar-passes-away-no-more.asp
|
en
|
Lakhoba Lokhande (Prabhakar Panshikar) passes away... : www.MumbaiTheatreGuide.com
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favicon.ico
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Prabhakar Panshikar : 1931-2011
To Aata Navhech (He's No More)
Marathi theatre veteran Prabhakar Panshikar (1931-2011) succumbed to cardiac arrest and renal failure in Pune on Thursday. He was 79. He immortalized the role of Lakhoba Lokhande, the real life fraudster who married many times over and cheated all his 'wives', in Acharya Atre's TO MEE NAVECH (That is not me). Launched way back in 1962, the play went on to celebrate 2833 shows! The audience was mesmerized by its dramatic story, Panshikar's superlative six different roles and the revolving stage (phirta rangamanch). He is also remembered for his role as ruthless Aurangzeb in 'Ithe Oshalala Mrityu'. Among his other memorable plays are 'Ashrunchi Zhali Phule', 'Bhatala Dili Osari 'Thank You Mr Glad' and 'Jevha Gavtala Bhale Phuttat'.
He launched his banner Natya Sampada which is now helmed by his nephew Anant Panshikar, and a revived new version of the play 'Vichcha Majhi Poori Kara' has been launched. Panshikar fondly known as Pant was honoured with Acharya Atre, Bal Gandharva, Keshavrao Date Purskars and felicitated by the Sangeet Natak Akademi as well. He is survived by his wife, two daughters and a son. His son, Raghunandan is a classical singer of repute.
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Theatre Update Archives
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Prabhakar Panshikar Filmography | Biography of Prabhakar Panshikar | Prabhakar Panshikar
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https://www.indianfilmhistory.com/actor/prabhakar-panshikar
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https://www.firstpost.com/entertainment/abhijeet-deshpandes-kashinath-ghanekar-biopic-brings-the-past-to-life-with-great-performances-5677251.html
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en
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Abhijeet Deshpande's Kashinath Ghanekar biopic brings the past to life with great performances
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"Abhijeet Deshpande"
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[
"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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âGaana Saraswati Mahotsavâ, a Classical Music festival organised by Natyasampada Pratishthan enters into its 9th edition planned for March 4 and 5, 2023.
As we all are inching towards normalcy after the global pandemic, we believe that music and art have the power to heal and provide comfort, solace, and positive energy and this and other events we would be planning are our small contributions in that effort.
The event has been named after Gaana Saraswati Padma Vibhushan Smt. Kishori Amonkar to honour and celebrate her contribution in the field of Indian Classical Music. This event is a tribute to this legendary and phenomenal artiste who with her lifelong pursuit of music and complete dedication to the art, not only carved a niche for herself but also created a new path for others to follow.
Natyasampada Pratishthan was founded in 2006 by late Shri. Prabhakar Panshikar, the legendary actor and producer of the Marathi theatre. Our objectives include research and promotion of Theatre, Sanskrit Literature, and Indian Classical and other music. Our goals also include spreading the rich culture of Indian arts and music to the masses including the young generation.
Besides the performances, this edition will also feature the following :
Felicitation of Dr. Alka Deo Marulkar with the "Gaanatapaswini Mogubai Kurdikar Puraskar" which we started in 2015, for her exemplary contribution in Classical Vocal Music as an accomplished artiste and a teacher.
Felicitation of Pandit Omkar Gulvady with the "Gaanasaraswati Kishori Amonkar Sangatkar Puraskar" which we started in 2015, for his exemplary contribution in Classical Music as an accomplished Tabla Accompanist and a teacher.
Natyasampada Pratishthan was founded in 2006 by late Shri. Prabhakar Panshikar, the legendary actor and producer of the Marathi theatre. Our objectives include research and promotion of Theatre, Sanskrit Literature, and Indian Classical and other music. Our goals also include spreading the rich culture of Indian arts and music to the masses including the young generation. With these goals, we have started organising âGaana Saraswati Mahotsavâ since 2013. The event has been named after Gaana Saraswati Padma Vibhushan Smt. Kishori Amonkar to honour and celebrate her contribution in the field of Indian Classical Music. Artistes who have performed in all the editions have included senior legendary artistes as well as talented upcoming artistes. As part of our goals of spreading music to the masses, we have also organised lectures by Smt. Amonkar herself on different scientific and aesthetic aspects of Indian Classical Music. We intend to build upon such initiatives in future.
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https://snratings.wordpress.com/2018/11/12/anidrkashinathghanekar-marathifilm-review/
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#AniDrKashinathGhanekar #Marathifilm #review
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2018-11-12T00:00:00
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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/
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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://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/
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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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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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en
|
http://kheemapau.blogspot.com/favicon.ico
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http://kheemapau.blogspot.com/2018/11/
|
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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8363
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https://www.thehindu.com/entertainment/music/she-insisted-on-swara-shuddhi/article19682881.ece
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en
|
Aakaar is the best way of singing
|
https://th-i.thgim.com/public/entertainment/music/article19682880.ece/alternates/LANDSCAPE_1200/15FRRAGHUNANDAN
|
https://th-i.thgim.com/public/entertainment/music/article19682880.ece/alternates/LANDSCAPE_1200/15FRRAGHUNANDAN
|
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[
"Kishori amonkar",
"Raghunandhan",
"khayal"
] | null |
[
"Lakshmi Sreeram"
] |
2017-09-14T09:49:05+00:00
|
Amonkar trained Raghunandan Panshikar without imposing restrictions
|
en
|
https://www.thehindu.com/favicon.ico
|
The Hindu
|
https://www.thehindu.com/entertainment/music/she-insisted-on-swara-shuddhi/article19682881.ece
|
Musical lore is filled with inspiring stories of seekers trying to get great musicians to accept them as students. Some others are privileged to be invited by great musicians to learn from them. Kishori Amonkar, working on the music of a play by Prabhakar Panshikar, was tired of repeating the line to the actor and looked at young Raghunandan, who was hanging around. “You sing, don’t you? Why don’t you sing and show how it is to be sung?” Raghunandan did. And impressed, the great Diva of Khayal enough for her to ask him to come and learn from her.
She would have us practice the thaat first — the parent scale of the raga — for the notes and pitch positions to get drilled into us. The first exercise for us was to practise situating each swara with precision against the tanpura’s soundscape. We learnt to draw notes from the tanpura; we would sing sometimes while playing all four strings, sometimes just the Sa strings. And then of course alankaras, etc., and the compositions were taught. Swara shuddhi was primary with her.
And it was this swara shuddhi that she herself sought in every performance of hers. She so wanted to show the divinity of the swara to the audience. Sometimes it happened and sometimes it did not.
Jaipur gayaki, as is well known, is a style created by Ustad Alladiya Khan. He lost his voice due to excessive strain and had to find a way of singing that did not involve holding swaras for long since he was unable to do that. Since he could not rely on his voice to dazzle the audience, he dazzled by the intricacies of patterns and subtle complexities of vistaar. In his style, vilambit is absent and the raga is delineated mostly in madhya laya. Didi brought vilambit into her presentation, not, as some say, by drawing from Kirana gharana, but rather because her own experiences of music led her to read up on the emotional impact of swaras. She studied Natya Sastra, Abhinava Gupta, Sarngadeva and other texts from Soundarya sastra. For her music was not just something to be performed but also studied deeply. She herself did that.
Aakaar is the way Alladiya Khan saheb got back his voice — that is the best and optimal way of singing. The positioning of the tongue, the cheeks, the voice are naturally at their optimal if the aakaar is produced right. If some student came in having trained the wrong way, it was very difficult to correct that singer.
Didi was very careful to warn me against imbibing “feminine singing,” a natural danger since I was learning from her. She encouraged me to sing whatever the voice could take to. So I sing film music, ghazals, natya geet as well as Khayal. Each has its own demands and my journey as a musician knows no artificial restrictions.
Raghunandan Panshikar performs under the aegis of NCPA, Mumbai, and Music Club IIT Madras, on September 16 from 6.30 p.m. at CLT. This is part of Music Club’s Clasfest 2017, the other artists being featured in the series being K. Gayatri and R.K. Shriram Kumar.
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https://www.tnpscthervupettagam.com/currentaffairs-detail/natvarya-prabhakar-panshikar-lifetime-achievement
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en
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TNPSC Monthly Current Affairs
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Stay updated with the latest TNPSC Current Affairs on TNPSC Thervupettagam. Get crucial insights for your exam preparation.
|
https://www.tnpscthervupettagam.com/assets/website/images/favicon/favicon.ico
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https://www.tnpscthervupettagam.com/
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Noted Marathi actor Jayant Sawarkar was 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.
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https://www.mumbaitheatreguide.com/dramas/Articles/11/mar/14-81st-birth-anniversary-of-late-prabhakar-panshikar.asp
|
en
|
81st Birth Anniversary of Late Prabhakar Panshikar... : www.MumbaiTheatreGuide.com
|
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favicon.ico
| null |
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
read / post your comments
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https://mysticamusic.com/artists/raghunandan-panshikar-indian-classical-singer
|
en
|
Mysticamusic
|
[
"https://mysticamusic.com/img/mystica_logo.png",
"https://assets.mysticamusic.com/images/artist-photos/raghunandan-panshikar.jpg",
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[] |
[] |
[
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[] | null |
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.
|
en
|
/img/favicon.ico
|
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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| 2
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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
|
/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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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
|
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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"
] |
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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8363
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dbpedia
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https://www.mumbaitheatreguide.com/dramas/Articles/11/mar/14-81st-birth-anniversary-of-late-prabhakar-panshikar.asp
|
en
|
81st Birth Anniversary of Late Prabhakar Panshikar... : www.MumbaiTheatreGuide.com
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favicon.ico
| null |
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
read / post your comments
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Theatre Update Archives
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https://marathisangeetnatakblog.wordpress.com/a-list-of-actors/
|
en
|
A List of Actors
|
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2018-08-25T03:21:14+00:00
|
Visit the post for more.
|
en
|
https://s1.wp.com/i/favicon.ico
|
Marathi Sangeet Natak Blog
|
https://marathisangeetnatakblog.wordpress.com/a-list-of-actors/
|
Annasaheb Kirloskar
Balkoba Natekar
Moroba Bapuji Wagholikar
Bhaurao Kolhatkar
Govindrao Nipunikar
Kashinathpanth Parchure
Shankarao Mujumdar
Bhaskarbuwa Bakhale
Triambakrao Sathe
Babasaheb Shewde
Gopalrao Date
Gajanan Balwant Rede
Keshavraoa Maydev (Phaiyazdar)
Rambhau Werulkar
Bapurao Pethe
Shivrampant Joshi
Bapurao Kelkar
Shripadrao Phadke
Hari Dattreya Ranade
Gangadhar Bhimrao Jambhekar
Nanasaheb Soman
Purushottam Vishnu Godbole
Rambhau (Mama Mehendale)
Vishnu Narayan Buchke
Govind Ballal Deval
Keshavrao Bhosle
Sawai Gandharva
Mogubai Kurdilkar
Narayanrao Shripad Rajhans (Bal Gandharva)
Govindrao Tembe
Ganpatrao Bodas
Madhavrao Walwalkar
Deenanath Mangeshkar
Krishnarao Phulimbrikar
Vinayakrao Patwardhan
Gangadhar Londhe (G. M. Londhe)
Chintamanrao Kolhatkar
Nanasaheb Phatak
Shankarao Sarnaik
Dinkar Kamanna
Damuana Malwankar
Vimal Patwardhan
Dattopant Vaishampayan
Shivrampant Paranjpe
Bhargavram Achrekar
Kesarabai Bandodkar
Haribhau Deshpande
Gauharjaan Karnataki
Jyotsna Bhole
Gohar Karnataki
Yashawant Vitthal Pingale
Mahadev Balkrishna Walawalkar
Keshav Vitthal Bhonsle
Vyankatesh Balwant Pendharkar
Shripad Vishnu Joshi
Ramchandra Keshaba Gulwani
Dattatreya Narayan Kulkarni
Raghunath Annuji Inamdar
Gopal Vasudev Gutikar
Raghunath Govind Shitut
Narayan Ganesh Vijapurkar
Pandurang Bapuji Rege
Shridhar Mahadev Deshgukh
Balkrushna Ghargulkar
Tukaram Babu Gargulkar
Shankar Narayan Joshi
Ramachandra Ganpat Jadhav
Nanasaheb Joglekar
Shree Joglekar
Shree Vaishampayan
Mama Pendse
Anant Damle
Naresh
Durgaram
Chandrakant
Gokhale
Suresh Haldankar
Chintamanrao Kolhatkar
Chintubua Gurav
Saraswatibai Bodas
Vatsala
Vijaya
Vasant Shinde
Krishnarao Shinde
Krishnaraou Gore
Pawar
Gajanan Jagirdar
Govind Karmarkar
Kusum Kulkarni
Shahu Modak
Atmaram Bhende
Pu. La Deshpande
Narayan Jogkekar
Indirabai Chitnis
Shripad Joshi
Kusum Kulkarni
Gulab Korgaonkar
Balakram
Kanhopatra Kinikar
Prabhakar Panshikar
Dr. Prabha Atre
Madhuvanti Dandekar
Nirmila Gogate
Prakash Ghangrekar
Shubdha Dadarkar
Dr. Vasantrao Deshpande
Ram Marathe
Prasad Sawkar
Bhalachandra Pendharkar
Dnyanesh Pendharkar
Mukund Marathe
Narayan Bodas
Arvind Pilgaonkar
Asha Khadilkar
Rajani Joshi
Chandrakant Koli
Jayant Sawarkar
Keerti Shiledar
Deepti Bhogale
Samidha Joglekar
Lata Mangeshkar
Dilip Thakur
Ramesh Vaishampayan
Sharad Gokhale
Vishwanath Bagul
Chhota Gandharva
Jyotsna Mohile
Faiyyaz
Ramdas Kamat
Kiran Bhogale
Makarand Lokre
Shekhar Kambete
V. Shantaram
Maya Jadhav
Lilawati
Meenakshi
Aasha Potdar
Bharati Malwankar
Sumati Gupte
Malati Pendharkar
Shanta Apte
Nalini Chonkar
Jayshree Shejwadkar
Prabhudev Sardar
Manik Varma
Nayana Apte
Bakul Pandit
Udhayraj Godhbole
Udhyan Kale
Rahul Deshpande
Mahesh Kale
Priyanka Barve
Mansi Joshi
Shubangi Sadavarte
Share this:
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|
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8363
|
dbpedia
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1
| 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"
] |
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
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Sawan special: Easy Makhana Mango Barfi made under 10 mins
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https://imshouston.org/event/pandit-raghunandan-panshikar/
|
en
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Pandit Raghunandan Panshikar – Indian Music Society of Houston
|
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[
""
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[] | null |
en
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https://imshouston.org/event/pandit-raghunandan-panshikar/
|
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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| 16
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https://www.tnpscthervupettagam.com/currentaffairs-detail/natvarya-prabhakar-panshikar-lifetime-achievement
|
en
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TNPSC Monthly Current Affairs
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"TNPSC group 2 classes in Chennai",
"Best Coaching Classes for TNPSC Group II Exam",
"TNPSC coaching classes in Chennai",
"VAO Coaching classes in chennai",
"TNPSC coaching centres in Chennai",
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"IIA",
"IV & VAO Coaching Classes in Chennai",
"Best TNPSC Coaching classes Chennai",
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"TNPSC Daily current affairs",
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"TNPSC Group II Study materials."
] | null |
[] | null |
Stay updated with the latest TNPSC Current Affairs on TNPSC Thervupettagam. Get crucial insights for your exam preparation.
|
https://www.tnpscthervupettagam.com/assets/website/images/favicon/favicon.ico
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https://www.tnpscthervupettagam.com/
|
Noted Marathi actor Jayant Sawarkar was 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.
|
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| 14
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https://www.facebook.com/106638240957723/videos/200955884507423/
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en
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As we celebrate legendary actor/producer late Prabhakar Panshikar’s 90th birthday today, we would like to announce that in the coming year we will be...
|
[] |
[] |
[] |
[
""
] | null |
[] | null |
As we celebrate legendary actor/producer late Prabhakar Panshikar’s 90th birthday today, we would like to announce that in the coming year we will be...
|
de
|
https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
|
https://www.facebook.com/100057488648041/videos/as-we-celebrate-legendary-actorproducer-late-prabhakar-panshikars-90th-birthday-/200955884507423/
| ||||||
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| 76
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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"
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[
"Probus software"
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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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8363
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dbpedia
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https://bookreviewbubbles.wordpress.com/2018/11/13/ani-kashinath-ghanekar/
|
en
|
As I See It – Reviews Of Books Movies and Plays from Psychology's view
|
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2018-11-13T00:00:00
|
A Dentist who is mocked by his father for not being a real doctor, has a passion for acting. He barges into the audition and convinces the writer Vasant Kanitkar and the producer that he is their Sambhaji in the play, Raigadala jeva jag yete and a typhoon, a madness is born that shakes the…
|
en
|
https://s1.wp.com/i/favicon.ico
|
As I See It - Reviews Of Books Movies and Plays from Psychology's view
|
https://bookreviewbubbles.wordpress.com/2018/11/13/ani-kashinath-ghanekar/
|
A Dentist who is mocked by his father for not being a real doctor, has a passion for acting. He barges into the audition and convinces the writer Vasant Kanitkar and the producer that he is their Sambhaji in the play, Raigadala jeva jag yete and a typhoon, a madness is born that shakes the whole of Marathi theatre for times to come. He goes on to become the one actor on stage who makes people whistle in Marathi theatre, the first actor who gets an applause at his entry, whose name is announced last in the list of actors and he goes on to be one of his kind, the first superstar of Marathi Drama.
That craziness of memorable roles like Sambhaji,Lalya, Garambhi cha bapu, in plays that created history, those impulsive and whimsical decisions both in the face of little personal tragedies or inadequacies, as well as professional life makes for a heart racing biopic.
Somehow, this biopic gave me a feel of Devdas in the eyes of Dr Kashinath Ghanekar. It says faintly that he was a, brat of Marathi theatre but there were those little insults and provocations by either his own people or lady luck that justified his bratty behaviour. It indirectly portrayed the pitiable strife of the son trying to seek approval and accolades from people which he failed to receive from his father.
For the first time I realized that Prabhakar Panshikar was not only a great actor but a great human being as well as a friend.
All the characters as famous actors and well known figures in Marathi Theatre have a done good job, Subodh Bhave has proved that he is an excellent actor and same with Anand Ingle as Vasant Kanetkar and Sonali Kulkarni as Sulochana. Even Sumeet Raghavan as the intellectual Shriram Lagoo is adorable. The plus point on the writer’s and the director’s side is that the roles of the characters are very well defined. They do not fray their boundaries.
And lastly Kanchan Ghanekar from whose book the biopic has been inspired is one image of unconditional affection well portrayed by Vaidehi Parshurami.
All in all an informative as well as exciting portrayal of the crazy actor that Dr Kashinath Ghanekar was.
The movie for those like me who are not much aware of the history of Marathi theatre may seem clipped and reattached. The editing could have been better.
I liked the last dialogue of the movie that the first clap that the actor gets becomes the curse for him for if not for the clap, the actor could have become many other things like a good husband, a good son or a good friend but that one clap makes him only a great actor that he became.
A special mention of my friend Paritosh Pradhan, who has done the role of Raja Paranjape in this biopic.
Maitreyee
|
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| 21
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http://marathitheva.blogspot.com/2011/01/toh-mee-navhech.html
|
en
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Marathi Theva: Toh Mee Navhech..
|
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Hello Friends, Sad News - Renowned Theatre Actor Prabhakar Panshikar is No More.... Born on March 14, 1931, Panshikar, in a career spanning...
|
en
|
http://marathitheva.blogspot.com/favicon.ico
|
http://marathitheva.blogspot.com/2011/01/toh-mee-navhech.html
| ||||
8363
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dbpedia
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| 74
|
https://affairscloud.com/dadasaheb-phalke-and-sahitya-akademi-winner-ratnakar-matkari-posthumously-honoured-by-maharashtra-government/
|
en
|
Dadasaheb Phalke and Sahitya Akademi Winner Ratnakar Matkari Posthumously Honoured by Maharashtra Government
|
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[] |
2020-07-03T14:04:55+00:00
|
en
|
https://affairscloud.com/dadasaheb-phalke-and-sahitya-akademi-winner-ratnakar-matkari-posthumously-honoured-by-maharashtra-government/
|
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.
Natvarya Prabhakar Panshikar award:
i.The Natvarya Prabhakar Panshikar award comprises a citation, a memento and a cash prize of Rs.5 Lakh.
ii.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.
Ratnakar Matkari:
i.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.
iii.His plays for children include Albatya Galbatya, Nimma Shimma Rakshas and Achat Gawachi Aphat Mavashi.
iv.He was also a director and producer in the Marathi film industry and directed movies like Prem Kahani, State Lote, Lokakatha 78 among others.
v.He was a columnist in the 1970 and contributed to numerous newspapers and magazines.
vi.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.
Awards:
i.He was the recipient of Dadasaheb Phalke award 1986 for his scripts and directorial merits.
ii.He received the Sangeet Natak Academy award in 2003.
iii.He won the Sahitya Akademi’s Bal Sahitya Puraskar in 2018 for his contributions in children’s literature.
About Maharashtra:
Capital– Mumbai
Chief Minister– Uddhav Thackeray
Governor– Bhagat Singh Koshyari
The famous Ajanta Ellora Caves, a UNESCO World heritage site is located in Aurangabad, Maharashtra.
|
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| 1
|
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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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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8363
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dbpedia
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1
| 94
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https://www.republicworld.com/entertainment/liladhar-kambli-passes-away-at-83-due-to-cancer
|
en
|
Liladhar Kambli passes away: Award-winning Marathi veteran actor succumbs to cancer at 83
|
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2020-07-03T14:12:10+05:30
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8363
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http://natyagandha.blogspot.com/2014/
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en
|
नाट्यगंध: 2014
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http://natyagandha.blogspot.com/favicon.ico
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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 .
|
en
|
http://natyagandha.blogspot.com/favicon.ico
|
http://natyagandha.blogspot.com/2014/
| ||||
8363
|
dbpedia
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2
| 79
|
https://www.linkedin.com/pulse/politics-revival-sumedha-raikar-mhatre
|
en
|
The Politics of Revival
|
https://media.licdn.com/dms/image/v2/C5612AQFe5w0w3k8zKw/article-cover_image-shrink_720_1280/article-cover_image-shrink_720_1280/0/1520226435176?e=2147483647&v=beta&t=ZKGeOK0wAIZAyvFED8nkFjN7oRZkSuEXxtlKFgzYUX8
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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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https://static.licdn.com/aero-v1/sc/h/al2o9zrvru7aqj8e1x2rzsrca
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https://www.linkedin.com/pulse/politics-revival-sumedha-raikar-mhatre
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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://en.wikipedia.org/wiki/To_Mee_Navhech
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To Mee Navhech
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2008-09-27T06:28:39+00:00
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en
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/static/apple-touch/wikipedia.png
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https://en.wikipedia.org/wiki/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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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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Hello Friends, Sad News - Renowned Theatre Actor Prabhakar Panshikar is No More.... Born on March 14, 1931, Panshikar, in a career spanning...
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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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Marathi Theva: Toh Mee Navhech..
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Hello Friends, Sad News - Renowned Theatre Actor Prabhakar Panshikar is No More.... Born on March 14, 1931, Panshikar, in a career spanning...
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http://marathitheva.blogspot.com/2011/01/toh-mee-navhech.html
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https://bookreviewbubbles.wordpress.com/2018/11/13/ani-kashinath-ghanekar/
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As I See It – Reviews Of Books Movies and Plays from Psychology's view
|
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2018-11-13T00:00:00
|
A Dentist who is mocked by his father for not being a real doctor, has a passion for acting. He barges into the audition and convinces the writer Vasant Kanitkar and the producer that he is their Sambhaji in the play, Raigadala jeva jag yete and a typhoon, a madness is born that shakes the…
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en
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https://s1.wp.com/i/favicon.ico
|
As I See It - Reviews Of Books Movies and Plays from Psychology's view
|
https://bookreviewbubbles.wordpress.com/2018/11/13/ani-kashinath-ghanekar/
|
A Dentist who is mocked by his father for not being a real doctor, has a passion for acting. He barges into the audition and convinces the writer Vasant Kanitkar and the producer that he is their Sambhaji in the play, Raigadala jeva jag yete and a typhoon, a madness is born that shakes the whole of Marathi theatre for times to come. He goes on to become the one actor on stage who makes people whistle in Marathi theatre, the first actor who gets an applause at his entry, whose name is announced last in the list of actors and he goes on to be one of his kind, the first superstar of Marathi Drama.
That craziness of memorable roles like Sambhaji,Lalya, Garambhi cha bapu, in plays that created history, those impulsive and whimsical decisions both in the face of little personal tragedies or inadequacies, as well as professional life makes for a heart racing biopic.
Somehow, this biopic gave me a feel of Devdas in the eyes of Dr Kashinath Ghanekar. It says faintly that he was a, brat of Marathi theatre but there were those little insults and provocations by either his own people or lady luck that justified his bratty behaviour. It indirectly portrayed the pitiable strife of the son trying to seek approval and accolades from people which he failed to receive from his father.
For the first time I realized that Prabhakar Panshikar was not only a great actor but a great human being as well as a friend.
All the characters as famous actors and well known figures in Marathi Theatre have a done good job, Subodh Bhave has proved that he is an excellent actor and same with Anand Ingle as Vasant Kanetkar and Sonali Kulkarni as Sulochana. Even Sumeet Raghavan as the intellectual Shriram Lagoo is adorable. The plus point on the writer’s and the director’s side is that the roles of the characters are very well defined. They do not fray their boundaries.
And lastly Kanchan Ghanekar from whose book the biopic has been inspired is one image of unconditional affection well portrayed by Vaidehi Parshurami.
All in all an informative as well as exciting portrayal of the crazy actor that Dr Kashinath Ghanekar was.
The movie for those like me who are not much aware of the history of Marathi theatre may seem clipped and reattached. The editing could have been better.
I liked the last dialogue of the movie that the first clap that the actor gets becomes the curse for him for if not for the clap, the actor could have become many other things like a good husband, a good son or a good friend but that one clap makes him only a great actor that he became.
A special mention of my friend Paritosh Pradhan, who has done the role of Raja Paranjape in this biopic.
Maitreyee
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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
|
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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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.
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Facebook
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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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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.cbc.ca/strombo/news/the-coldest-football-club-in-the-world-finnish-soccer-team-plays-in-the-arc
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The Coldest Football Club In The World: Finnish Soccer Team Plays In The Arctic Circle
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Each weeknight, George Stroumboulopoulos Tonight brings you a smart, sharp and intimate conversation with some of the world’s biggest stars and original thinkers.
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George Stroumboulopoulos Tonight
|
//www.cbc.ca/strombo/news/the-coldest-football-club-in-the-world-finnish-soccer-team-plays-in-the-arc
|
Here in Canada, we're pretty tough when it comes to the cold.
We take pride in playing hockey for hours on a frozen pond, in sub-zero weather - to the point where your nose is dripping and you can't feel your toes.
We love the Grey Cup too - there's just something extra special about those games played in the cold and snow of Edmonton or Regina or Winnipeg.
But what about soccer? Who plays that in the dead of winter?
Well, a team in Finland does.
They're called Rovaniemen Palloseura, they play in the Finnish premier league, and they're based in the Arctic Circle.
In other words, they play pretty much their entire season in the freezing cold - often in temperatures as low as -18 degrees Celsius.
At times, it is so cold the players can hardly breathe.
Here's a short film on the club. It's part of a series from Ford's Fascinating World of Football.
"Playing football is very challenging when it's so cold," goalkeeper Pauli Tuisku says.
"The ball feels heavier and your feet can be painful. In goal in this weather you cannot stay still for a second - if you do, you're finished. I jump and run in the goal during the game to stay warm."
That said, it's not like this is new. The club has been playing in the Arctic for more than 60 years since it was founded in 1950.
"Growing up here, the cold is normal," says defender Tuomo Könönen. "We still feel it of course, especially when winter first arrives, but we're used to it."
Maybe, but what about players on the team from other countries? Palloseura has three players from Nigeria, one from Mexico and one from El Salvador.
"They are shocked when they arrive here," laughs Könönen, "but after a while they're fine."
Here's another video on the club from The Guardian.
Along with the cold, there's the issue of sunlight. In the Arctic, at this time of year, there's only a few hours of daylight - that's it.
That can make it tough to train and get motivated - getting up when it's dark and freezing. Plus, without much sunlight, the players have to take Vitamin D supplements.
By the way, Ford's Fascinating World of Football is a 3-month series of weekly stories highlighting some of the more unusual stories of European football.
You can follow the tour here.
Related stories
Italian Soccer Star Walks Off The Field In Protest Against Racist Chants From Fans
This Is Why We're Taught To Never Give Up: Amazing Double Save By Soccer Goalie In Peru
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https://www.footlive.com/team/vifk-vaasa/
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VIFK Live Scores, Football Results & Fixtures
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VIFK live scores, latest results, fixtures
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Finnish Youth National Team Call-Up Excites RSL Academy Duo
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2023-03-01T20:11:19.825000+00:00
|
Gershon Henry and Gabriel Oksanen are two up-and-coming footballers competing for the Real Salt Lake (RSL) Academy who have both been recognized as potential international footballers by the Finland Youth National Team. Henry and Oksanen most recently were called upon to represent Finland’s U-17 side this past January where they
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en
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rsl
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https://www.rsl.com/news/finnish-youth-national-team-call-up-excites-rsl-academy-duo
|
Gershon Henry and Gabriel Oksanen are two up-and-coming footballers competing for the Real Salt Lake (RSL) Academy who have both been recognized as potential international footballers by the Finland Youth National Team. Henry and Oksanen most recently were called upon to represent Finlandâs U-17 side this past January where they competed against Belgium in preparation for the European Championship qualifying tournament that will be held in Turkey this upcoming March.
Both young men have been successful at the competitive youth level. Gershon Henry was a key piece during the RSL Academyâs U-15 MLS NEXT Cup championship run, appearing as a defensive staple. During the 2022 season, Henry played in nearly every game for the RSL Academyâs U-17 side across all four major tournaments and aided the team in going undefeated during MLS NEXT Flex. Due to this superb form Henry was named as one of the 45 MLS NEXT players to compete in the first ever MLS NEXT All-star game.
Gabriel Oksanen began his youth career with the San Diego Surf Academy before being scouted by Philadelphia Unionâs Academy, which is widely regarded as one of the premier development academies of North America. At the start of 2022 Oksanen decided to join RSL Academy to pursue greater development opportunities, and shortly after was called up to the U-17 Finland Youth National Team.
In July of 2022 Oksanen competed in the Nordic Open tournament with the U-17 Finland Youth National Team and again was called upon to play for the Eagle-Owls a second time this past January. However, this was Henryâs first time playing for Finland, an opportunity that he was encouraged to pursue by his teammate Oksanen.
âIt felt awesome going to Finland. Playing with them, they play good football out there. Gabe helped me get there, he sent me the coaches email. I contacted them with my film and then they called me up,â said Henry âIt was a long journey to get there, but I was excited to play with the guys, the coaches and staff in the country.â
Henry and Oksanen have diverse backgrounds, both having dual nationalities that allow them to play for multiple countries. Players who are chosen to compete at the international youth level have a unique position if they possess multiple citizenships. These players may compete for any country they maintain citizenship for until they play a competitive fixture for that nation at the senior level.
Henry was born in Ghana and was subsequently adopted by his mother who is Finnish and father who is a United States citizen allowing him to play for Ghana, Finland, and the United States. Oksanen was born and raised in San Diego, California to a Finnish father and English mother, making him eligible to play for Finland, England, and the United States. These young men have had the opportunity to train and play with the United States Youth National Team multiple times, yet had little experience with Finland and its style of play until recently.
Not only did these young players have to become acquainted with a foreign style of play, but also overcome the challenge of developing bonds with teammates whose culture and primary language is different than their own. The two young men settled in quickly despite this, learning the style of play and forming connections with their fellow Finnish nationals due to the team's hospitality.
âEveryone there is really welcoming. Finland is a nice country, everyone is kind and the culture there is good. They play with a good style, everything about the team and the culture is a lot different than here but in a good way,â said Oksanen âIt was hard getting used to it, especially not speaking the same language but after being there a few times, we feel more connected.â
For both Henry and Oksanen it is a tremendous honor to play for Finland. The country holds a special place in the hearts of the two RSL Academy teammates, because of their parentsâ connection.
âFor me itâs a blessing. My mom is from Finland, itâs a big part of her life even though she doesnât live there any longer,â stated Henry. âBut for me to go there and play for her; itâs a big honor to play at the highest level of international football.â
While Henry is the first member of his family to represent Finland as an athlete, Oksanenâs father represented Finland on the biggest stage in sport in the 1998 Winter Olympics, where he competed as a snowboarder. Jussi Oksanen tried to get his son to pursue snowboarding as a boy but Gabe Oksanen just wanted to be a footballer. Now Gabe has the opportunity to create a name for himself as a footballer representing Finland, rather than as a snowboarder.
âFor me, it means a lot. My dad represented Finland in the Olympics so for me now to represent them, itâs a big deal to follow after him,â remarked Oksanen.
Both Oksanen and Henry represented their families, the RSL Academy, and themselves very well on the international stage, each participating at the highest levels of competition and making the most of their opportunity. It would stand to reason that both young men will have additional opportunities to play at the international level in their years to come.
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https://wasafootballcup.com/2024,fi/result/team/47069683
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Wasa Footballcup
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https://www.fctables.com/teams/vps-197158/
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en
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VPS Finland statistics, table, results, fixtures
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[] |
[] |
[
""
] | null |
[] |
2024-08-04T15:30:00+00:00
|
en
|
https://www.fctables.com/teams/vps-197158/
|
VPS statistics
Welcome to VPS (Finland - Veikkausliga) statistics. Below you find a lot of statistics for this team. Last and next matches, top scores, best players, under/over stats, handicap etc.
|
|||||||
246
|
dbpedia
|
3
| 57
|
https://podcasters.spotify.com/pod/show/careerwego/episodes/Ive-started-so-Ill-Finnish-e1oqn88
|
en
|
I've started so I'll Finnish by Career We Go: The Football Trivia Podcast
|
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Episode 18: Who sponsored Wimbledon in the 90's? How many Chileans can you name who have played in the Premier League? What is Real Madrid's academy known as? Have a listen for all this and more irrelevant football trivia based drivel. Follow us on Twitter and Instagram @careerwegopod, or email us at careerwegopod@gmail.com. If you enjoy this episode please leave us a 5 star rating and be sure to go through the back catalogue and catch up on any episodes you may have missed.
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https://podcasters.spotify.com/pod/show/careerwego/episodes/Ive-started-so-Ill-Finnish-e1oqn88
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Delighted to be joined by Gavin Cooney of The 42 for a cracking three-way encounter!
Which footballers has Joe been speaking to? Who was in the AC Milan 2005 Champions League Final squad? What referee used to be a Prison Guard? How well does Gavin know all things Rep. of Ireland, 2019 - 2024? Listen on for all this and more football trivia drivel.
Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Can you work out any of Eamo's cryptic clues describing footballers? Which club does Danny Welbeck have most Premier League appearances for? What do Mick McCarthy and Pele have in common? Listen on for all this and more football trivia drivel. Follow us on Twitter (X) & Instagram @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating wherever you listen if you enjoy the show! As an independent podcast, this is the best way of supporting us and is very much appreciated! ***
PART 2 of our pod with Doc Brown including ‘Crystal Palace in the 90s’ Mastermind! Which brands sponsored Palace in the 90s? Who did Pele include in his 125 Greatest Players list? Can footballers act? Listen on for all this and more football trivia drivel. ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
PART ONE of our pod with Ben Bailey Smith/Doc Brown.
Which clubs did Jobi McAnuff play for? Did Steve Bould play for England? Who is Dean Gordon? Listen on for all this and more football trivia drivel.
***Please do leave us a 5 star rating if you enjoyed the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Which UK & Ireland players have won the MLS Cup? How many footballers have over 400 Premier League appearances but no international caps? Which defender was Roman Abramovich´s first Chelsea signing? Who is Benny Feilhaber?
Listen on for all this and more football trivia drivel. Follow us on twitter & instagram @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com
***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
How many players have represented both Arsenal and Chelsea? Who scored for England at Euro 96? Did Jermaine Jenas play for Villa? Was this our greatest audio round yet? Listen on for all this and more football trivia drivel...
Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
What is Alan Curbishley´s real name? Which players have played for both Arsenal and Spurs? How many single-capped strikers have scored for England? Who is Clarence Goodson? Who (didn't) manage the Syracuse Salty Dogs? Listen on for all this and more football trivia drivel... Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Episode 49: Who are the most niche Champions League goal-scorers? How many Englishmen play in Turkey? Who did Peter Crouch join post Liverpool? How many Premier League Iranians can you name?
Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Can you name the goal from a famous piece of commentary? How well do you know your Dutch footballing "vans"? Which players have played for both Spurs and Barcelona? Is the George Weah pun really, really bad? Listen on for all this and more football trivia drivel... Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
VOTE FOR US IN THE SPORTS PODCAST AWARDS: https://www.sportspodcastgroup.com/sports_category/best-sports-comedy-podcast/ Who are the most obscure Ballon d'Or winners? What is the least-well known stadium in the EFL? Which iconic Italian players have had their squad numbers retired? Has Theo finally taken the shit puns too far?
Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
VOTE FOR US IN THE SPORTS PODCAST AWARDS: https://www.sportspodcastgroup.com/sports_category/best-sports-comedy-podcast/ Episode 44: Which 2 African-born players have won the Ballon dÓr? Which nation are the reigning AFCON champions? Which clubs did Kevin-Prince Boateng play for? Who is flogging CBD oil? Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
VOTE FOR US IN THE SPORTS PODCAST AWARDS: https://www.sportspodcastgroup.com/sports_category/best-sports-comedy-podcast/ Episode 43: Name the year from football commentary and Xmas number 1s, which Colombian striker played for Middlesbrough? Who was born on Christmas Day? Does anyone still listen to Shayne Ward? Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Episode 42: Can you name the football team based off each player´s immediate former club? Which stadiums have hosted 2 World Cup finals? Does Peter Ndlovu run a taxi business? Listen on for all this and more football trivia drivel, including the return of Rigobert Songs of Praise!
Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Episode 41: Who has scored for the most Premier League clubs? Which countries have reached World Cup semi finals but not the final itself? Is Florent Sinama Pongoalscorers an acceptable pun? Who is Stevie O´Neill?
Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Episode 40: Which Fulham player ended his career at St. Neots Town? Which team were called Middlebrook on Pro Evo 3? How many Japanese players who have played in the Premier League can you name? For all this and more, listen and subscribe to Career We Go: The Football Trivia Podcast! Give us a 5 star rating if you enjoyed!
Episode 39: Which player has represented both Real Madrid and San Diego Sockers? Who is the most forgettable Assistant Manager? Is ´the Shirt Locker´ a good pun? Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Episode 38: What links Barry Bannan, Robbie Keane and Lionel Messi? In which country does Javier Pastore currently play? Who is Jack ´the cat´ Garfield? Join us for all this and more football trivia drivel including our guest Mastermind round with footballer commentator and Scotland National Team aficionado Andy Bargh.
https://twitter.com/andy_bargh
Follow us on twitter & instagram @careerwegopod
***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 37: Can Theo or Eamo get our first one-club Career We Go? Who starred in The Premiership on ITV? Which player scored the fist goal in Germany 1-5 England? Why is David Stockdale´s website so ridiculous? Was Morrisons once Safeway? Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***
Episode 36: Join us for our first 3-way quiz with special-returning-guest-host Eamo!
How many goals did Gary Taylor-Fletcher score in the Premier League? Which players have worn number 9 for Chelsea? Should Dutch forwards be punished for wearing big boots? Listen on for all this and more football trivia drivel.
Follow us on instagram and twitter @careerwegopod.
***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 33: Who did Juan Sebastián Verón not play for? How many times has Louis van Gaal managed the Netherlands? What is the name of Sunderland´s old home ground? Who the fuck is Max Cream?
Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 32: How many teams has Roy Hodgson managed? Which players have scored 30 Premier League goals? Who did Kanu join after leaving Arsenal? Who the fuck is Graeme Jones?
Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 31: How many Madrid clubs play in La Liga? Which teams have worn Kappa? Pep Guardiola has played in Spain, Italy, Qatar and where else? Does Bobby know where Roy Keane lives?
Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 30: Join us for our (Steve) milestone 30th episode with our shared Mastermind leader Eamonn Dalton! Can you name the footballer from his tweets? Which Championship clubs have never played in the Premier League? Who exactly has Marcelo Bielsa managed? Has Michael Owen watched The Shawshank Redemption? Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 29: Just who did Hidetoshi Nakata play for? How many Norwegian football clubs can you list? Who has the greatest name in Premier League history? Did Iván Helguera play for Bolton?
Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 28: Special guest episode with chilled out entertainer and trivia buff Daniel Storey.
Who played for Parma in the 90s? How many teams has Sven-Göran Eriksson managed? Is Jason McAteer´s autobiography really called Blood Sweat and McAteer? When is Jimmy 5 Bellies coming on the pod? Join us and special guest Daniel Storey for all this and more football trivia drivel including our guest Mastermind round.
Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 27: Who did Martin Pringle play for? Which players won the most caps under Sven-Göran Eriksson? Is Thomas and the Frank Engine an acceptable pun?
Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 26: Who was the most expensive footballer of the 90s? How many clubs can you name who have been relegated from the Premier League only once? What tier do Deportivo La Coruna play in?
Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 25: Can you name the footballer from his autobiography chapter titles? Who has played for Strasbourg, Marseille and Hollywood United? Which fictional footballer starred in the Goal! trilogy? Who smashed a champagne glass and attacked his team mate on a night out? Listen on for all this and more football trivia drivel.
Follow us and get in touch on twitter and Instagram @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com
***Please do leave us a 5 star rating if you enjoy this episode! As an independent pod, this is the best way of supporting us and is very much appreciated!
***Play our daily trivia game at www.careerwego.com
Enjoy the show!
Episode 24: Who did AC Milan sign Kaka from? How many Serie A clubs can you name? What manager keeps a toaster in his office? Is David May a prick? Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! ***Play our daily trivia game at www.careerwego.com
Episode 23: How many Premier league clubs have been bottom on Christmas Day but survived the drop? What footballers starred in Escape to Victory? How many leagues have a full calendar of games on Christmas Day? Listen to our end of year Christmas special for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated!
Episode 22: Which current World Cup Manager has a Twitch account? How many World Cups have Canada qualified for? Who is the most forgettable member of the Rep of Ireland 2002 World Cup squad? Is Steve Milestone an acceptable pun? Listen on for all this as well as more World Cup and general football trivia drivel. Please leave us a 5 star review wherever you listen, share with your friends and get in touch @CareerWeGoPod on twitter and instagram or via email at careerwegopod@gmail.com
Episode 20: It´s the World Cup special arguably some people have been waiting for. And what a guest we have, by the way. Delighted to be joined by Adam Hurrey of Football Cliches to test his niche knowledge and take on our World Cup Mastermind round. Who has managed at the most World Cups? What clubs did Roger Milla play for? Who rocked a pair of Hi-Tec boots at USA 94? Listen on for all this and more football trivia drivel. Follow us on instagram and twitter @careerwegopod. Fancy sponsoring an episode? Email: careerwegopod@gmail.com ***Please do leave us a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! Thanks!
Episode 18: Who sponsored Wimbledon in the 90's? How many Chileans can you name who have played in the Premier League? What is Real Madrid's academy known as? Have a listen for all this and more irrelevant football trivia based drivel. Follow us on Twitter and Instagram @careerwegopod, or email us at careerwegopod@gmail.com. If you enjoy this episode please leave us a 5 star rating and be sure to go through the back catalogue and catch up on any episodes you may have missed.
Episode 17: It´s the Leeds United special arguably some people have been waiting for. Our first guest, Twitter´s @EamoV1 of The Square Ball and The Atheltic joins us to chat all things Leeds and take part in our debut Career We Go Mastermind round. Which club did Jimmy Floyd Hasselbaink sign from? Who did Jermaine Beckford score past in front of the Stretford End? Was Ian Harte any good? Listen on for all this and more football trivia drivel. - Career We Go - Coming or Going - Noel Whelan of Fortune - Mastermind Follow us on instagram and twitter @careerwegopod Get in touch by email: careerwegopod@gmail.com *Please leave a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! Thanks!
Episode 16: How many Welsh clubs play in England? Which players have been promoted from League 2, League 1 and the Championship? Is that Ivan Zamarano´s real hair? Listen on for all this and more football trivia drivel. - Career We Go - Net, Flicks and Phil - Where in the World? - Cappy Hour Follow us on instagram and twitter @careerwegopod Fancy coming on or sponsoring the show? Email: careerwegopod@gmail.com *Please leave a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! Thanks!
Episode 15: Who has played for Inter Milan, AC Milan and Plymouth Argyle? What is Burton Albion´s nickname? Should you ask Ray Houghton if he wants to get an uber with you? Listen on for all this and more football trivia drivel. - Career We Go - Naby the Keitagory - Swing Löw, Sweet Melchiot - Golden Goal Follow us on instagram and twitter @careerwegopod Fancy coming on or sponsoring the show? Email us at careerwegopod@gmail.com *Please leave a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is hugely appreciated! Thanks!
Episode 14: How many headed Premier League goals has Peter Crouch scored? How many of Mark Viduka's clubs can you name? Has Frédéric Kanouté played for Portsmouth? Listen on for all this and more football trivia drivel. - Career We Go - Thomas Two Clubs - Trabsponsor - Starting XIs Follow us on instagram and twitter @careerwegopod Fancy coming on or sponsoring the show? Email: careerwegopod@gmail.com *Please leave a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! Thanks!
Episode 13: When was the back pass rule introduced? Who has played for Peterborough, Hull and Burnley? Who did Gianfranco Zola sign for Chelsea from? Which former England international has a bin in his living room? Listen on for all this and more football trivia drivel. - Career We Go (name the player from his CV) - Bookable Offence (guess the player based off his autobiography chapter titles) - Rigobert Songs of Praise (our debut music round!) - Coming and Going (transfer round) Follow us on instagram and twitter @careerwegopod Fancy sponsoring the show? Email: careerwegopod@gmail.com *Please leave a 5 star rating if you enjoy the show! As an independent pod, this is the best way of supporting us and is very much appreciated! Thanks!
Episode 12: Who did Nicholas Anelka play for? What percentage of Ligue 1's wage bill is covered by PSG? Plus the introduction of two new rounds; Hat Trick Vieira and Hrisko Stoichkov. Find out about all this and more football trivia drivel in this week's episode of Career We Go: The Football Trivia Podcast. Follow us on Instagram and Twitter @careerwegopod and leave a 5 star review if you enjoy.
Episode 11: Who has scored the most Premier League own goals? What is Michael Owen's highest PL goal tally? Was Ze Roberto in Brazil's 1998 World Cup squad? Listen on for more niche drivel and some top class new audio beds too! Follow us on Instagram and Twitter @careerwegopod - Career We Go - Owen Goals and Gaffs - Squadfather - Home and Away https://linktr.ee/careerwego https://www.instagram.com/careerwegopod/ https://twitter.com/CareerWeGoPod Contact: careerwegopod@gmail.com
Episode 10: It's finally here! The Champions League Special that arguably no one was waiting for. Join us as we make our way through the (Graham) Pollifying rounds, into the Eric Maxim Groupo stages, across to the (Theo) Laycockouts, and lastly into the Champions League Lionel (Messi).
Who is Liverpool's highest Champions League scorer? Who is Bayern Munich's all time European Cup top scorer? Who knocked Manchester United out of their very first Champions League campaign? And will Joe ever learn the difference between Johan Cruyff and Rinus Michels?
Get in touch on Twitter and Instagram @careerwegopod
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dbpedia
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2
| 60
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https://khelnow.com/football/top-10-football-clubs-you-never-knew-existed
|
en
|
Top 10 football clubs that you never knew existed
|
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2020-05-11T01:06:03+05:30
|
While fans are in awe with their favorite football clubs, some unique names of several teams have secured a different place for themselves.
|
en
|
/images/Khelnow-logo.png
|
Khel Now
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https://khelnow.com/football/top-10-football-clubs-you-never-knew-existed
|
Some of these clubs have unique names which will leave you astounded.
Football fans all over the world are often very proud of the clubs they support and they proudly show off their club's crest with passion. That's what makes you a true fanatic in modern world.
However, in football, there are some clubs which have some unique and funny names - which bring smiles to multiple faces.
We have made a list of football clubs with these unique names, which most people would not know existed.
Deportivo Moron (Argentina)
Club Deportivo Moron is a club based in Buenos Aires in Argentina and features in the Primera B Nacional, which is the second tier of the country.
The club was formed way back in 1947 under the name of Club Sportivo Moron and later it got changed to the current name. While making even more hilarious is the fact that they have 'Bingo Morons' written on their front side of the t-shirts!
Go Ahead Eagles (Holland)
A rather known entity in comparison to the other clubs, but their unique name helps them secure a place in this list. The Dutch club who are currently in the Eerste Divisie, which is the second division in the Netherlands, were a force to reckon with in the early 1900s and even during the 60s and 70s they have featured in Europe. They were in the Eredivisie recently and only got relegated in 2016-17 season.
Coming back to their unique naming, the club was found in 1902 and was first named as Be Quick and then it got changed to Go Ahead on request of the Dutch Football Association. Later in 1971 the suffix Eagles was added on then-coach Barry Hughes' suggestion as the Eagle was the coat of arms of the city of Deventer.
FL Fart (Norway)
Another amusing name makes the list, FL Fart is a non-league club based in Vang, Norway. Fotballaget Fart, which is the club's full name was founded in 1917 and was dissolved within nine years and was refounded in 1934.
The club is mostly known for the accolades of their women's team as they play in their stadium named Fartbana. The club has given Norway international players like Thorstein Helstad and Kristin Bekkevold.
Deportivo Wanka (Peru)
Another weird name which will have a lot of laughs and giggles in English. But the lower league Peruvian team finds their distinct name from the inhabitants of the city who were known as Huancas or Wankas coming from the central areas of Peru.
The club was found in 1996 in the city of Huancayo in Peru. The current club is merged with Deportivo Pesquero of Chimbote but their home city remains Huancayo, as they still play their home games at the Estadio Huancayo.
The club have been under the radar for quite some time now as their last First Division appearance was back in 2004, they protested against their relegation and were suspended from participating in any football tournaments.
Club Always Ready (Bolivia)
A club from Bolivia which is better known as Always Ready features in the Bolivian Premier Division league. Mainly owing to their jersey the club is also known as Banda Roja or The Red Band mainly due to their similarity in texture with the Argentine outfit, River Plate.
The club is based in El Alto, the second-largest city in Bolivia and adjacent to the capital city of La Paz. despite the peculiar naming, the club has a lot of legacy and tradition in Bolivia as they have also featured in the Copa Libertadores in 1968. Although the results were underwhelming their history remains intact.
Grasshoppers (Switzerland)
Another comparatively little known football club in the list, Grasshoppers is a weird name for Switzerland's oldest and one of the most prestigious clubs. The club is a multisport organization based in Zurich and is one of the pillars of Swiss football even today.
Grasshoppers was found in 1886 by Tom E. Griffith, an English student. The club shares an intense rivalry with cross-town rivals FC Zurich. However the origin of their name 'grasshopper' is clearly not known while some feel that it was mainly due to the energetic celebrations of the players after scoring goals and also their nimble and swift gameplay has drawn similarities with the insect Grasshopper. However, with 27 Swiss League titles and 19 Swiss Cup titles, the club makes it up for their awkward name.
The Strongest (Bolivia)
Club The Strongest or simply The Strongest is the second Bolivian club in the list. The club is based in La Paz and was found in 1908, it is the oldest club in Bolivia and also the only club to remain in the top division for over a century.
Originally known as The Strong Football Club but it later got changed to The Strongest Football Club stamping their authority and also a great way to improve a club's marketing skills.
Semen Padang (Indonesia)
Before the English speaking audience takes it in the wrong sense, Semen Padang is a club based in the city of Padang, West Sumatra. The club acquires its name Semen from its primary sponsor Semen Indonesia which is a cement firm. Although it is just coincidence, it is a weird name for sure.
The club is found in 1980 and features in the Liga 2, which is the second tier football league in Indonesia. Semen Padang FC also won the Indonesia Premier League as recently in 2011-12 season and were relegated in 2017 after finishing in 16th position.
FC Santa Claus AC (Finland)
FC Santa Claus or simply the Santa, are a club based in Rovaniemi, a city in Norway. The club was formed in 1993 after a unique amalgamation of Rovaniemen Reipas and Rovaniemen Lappi football clubs took place. The amalgamated club was known as FC Santa Claus which literally has the grand old man in their crest and their primary colour in their kit is obviously red.
The club currently features in the Kakkonen, the third tier of the Finnish football league. While their football may not bring smiles to the faces their name definitely brings the Christmas feels!
Bangkok Bravo (Thailand)
The name at the first glance does not look bad until and unless you see their original name- Amon Rattanakosin Krung Thep Mahanakhon Mahinthara Mahadilok Phop Noppharat Ratchathani Ayuthaya Burirom Udomratchaniwet Mahasathan Amon Piman Awatan Sathit Sakkathattiya Witsanukam Prasit Bravo Association Football Club.
The club is based in Thailand's capital city and has the longest name in club football history till date. However, as the club's name was renamed as Bangkok City FC in 2010, New Zealand's Taumata FC will give the Thai outfit a very tough competition.
|
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246
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dbpedia
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| 79
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https://www.thesportsdb.com/league/4963
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en
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Finnish Ykkönen
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League: Finnish Ykkönen, Artwork, Fixtures, Results, Logo, Banner, Clearart, Fanart, Poster
|
en
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/images/ico/apple-icon-57x57.png
| null |
Logo
Upcoming
10/08 FC Jazz - JJK 1:00pm 10/08 PKKU - EPS 1:00pm 10/08 KuPS II - RoPS 4:00pm 11/08 OLS - KPV 3:30pm 12/08 Klubi-04 - Atlantis 4:00pm 16/08 JJK - FC Vaajakosk 4:00pm 16/08 Atlantis - FC Jazz 4:00pm 17/08 VIFK - PKKU 2:00pm 17/08 RoPS - OLS 1:00pm 17/08 EPS - KuPS II 1:00pm
Results 09/08 FC Vaajakosk  1 - 1 VIFK 07/08 JJK  0 - 4 Klubi-04 05/08 OLS  3 - 2 KuPS II 04/08 VIFK  2 - 3 FC Jazz 03/08 KPV  2 - 0 Atlantis 03/08 EPS  5 - 1 FC Vaajakosk 03/08 RoPS  2 - 3 PKKU 28/07 Klubi-04  9 - 3 VIFK 27/07 KuPS II  1 - 2 KPV 27/07 PKKU  2 - 0 OLS
Description
Available in:
Ykkönen (Finnish for 'Number One'; Swedish: Ettan) is the second highest level of the Finnish football league system (after the Veikkausliiga), although it is the highest league managed by the Football Association of Finland.
The first league format competition in the second level of Finnish football was called Suomensarja, which was founded in 1936. Before the inauguration of the Suomensarja, from 1930 to 1935, there had been special qualification matches for the right to play in the Mestaruussarja.
In the autumn of 1969, the Finnish football underwent a league system reform, and the Suomensarja was renamed II divisioona, or 2nd Division, with regional sections.
In 1973, this level of football in Finland became nationwide, and the new name was 1. divisioona (First Division). The name Ykkönen has been used since 1995.
Seasons
2024
2023
2022
2021
show more..
Teams
Atlantis
EPS
FC Jazz
FC Vaajakoski
JJK
Klubi-04
KPV
KuPS II
OLS
PKKU
RoPS
VIFK
Key
( ) Missing Artwork
(- 4) Missing 4 Players: Data and Artwork
( ) Team Complete
Trophy Icon
Fanart
Banner
Other Links
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246
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dbpedia
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| 5
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https://www.transfermarkt.com/vaasa-ifk/startseite/verein/11134
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en
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Vaasa IFK - Club profile
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[] |
[
"Vaasa IFK",
"Finland"
] | null |
[] | null |
All information about Vaasa IFK (Ykkönen) ➤ current squad with market values ➤ transfers ➤ rumours ➤ player stats ➤ fixtures ➤ news
|
en
|
/favicon.ico
|
https://www.transfermarkt.com/vaasa-ifk/startseite/verein/11134
|
In this match you stick with...
|
|||||
246
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dbpedia
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3
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https://logos.fandom.com/wiki/Category:Finnish_football
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en
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Category:Finnish football
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[
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en
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https://static.wikia.nocookie.net/logopedia/images/4/4a/Site-favicon.ico/revision/latest?cb=20210629045729
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Logopedia
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https://logos.fandom.com/wiki/Category:Finnish_football
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Register Sign In
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246
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dbpedia
|
2
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https://www.facebook.com/groups/helsinkifootball/
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en
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Facebook
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[] |
[] |
[] |
[
""
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[] | null |
it
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https://static.xx.fbcdn.net/rsrc.php/yT/r/aGT3gskzWBf.ico
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246
|
dbpedia
|
1
| 23
|
https://www.footballdatabase.eu/en/club/team/1411-pargas_if/2024
|
en
|
Players, Ranking and Transfers
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[] |
[] |
[
""
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[] | null |
Statistics of the Pargas IF for the 2024 season, roster of the season, all the results of the team
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footballdatabase.eu
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https://www.footballdatabase.eu/en/club/team/1411-pargas_if/2024
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