WOMEN IN TENDULKAR’S PLAYS WITH REFERENCE TO GHASHIRAM

KOTWAL

Indian Drama has long history. It flourishes in ancient time. The Sanskrit
Drama was main line in the ancient time. Modern Drama is influenced by
classical Sanskrit Drama and Western theatre. Bharata’s Natyashartra is a great
treatise in Sanskrit. He is in the range of Aristotle’s Poetics. Aristotle gave the
theory of Imitation in Poetics and definition of tragedy “tragedy is the
imitation of action that is serious, complete and of a certain magnitude; in a
language beautified in different parts with different kinds of embellishment,
through action and not narration and through scenes of pity and fear bringing
about the catharsis of these emotions.” Kalidas Shakuntala (Circa 5th century)
is a great drama. Bhasa wrote 134 plays. His masterpieces are Swapana –
Vasavadatta. The story is about king Udayana who is tom between his love for
his wife Vasavadatta and the political necessity of marrying Padma Vati, the
daughter of Harsha’s.

Alongwith Mohan Rakesh, Badal Sircar and Girish Karnard, Vijay,

Tendulkar has pioneered modern Indian theatre. He is an eminent Marathi
playwright, screen play writer, essayist, journalist and social commentator. His
best known plays are Silence! The Court is in Session (1967), Ghashiram
Kotwal (1970), Kamla (1981), Kanyadaan (1982), A Friend’s Story (1982),
Safar (1991), Fifth Woman (2004). Silence! The Court is in Session exposes
the basic hypocrisy and double standards in the middle class society through a
mock trial of Leela Benare, A School Teacher. It has social concern. It raises
the questions on the need of maintaining social stability, moral sanctity and
legal integrity. Leela Banare is guilty of promiscuity. Kamla is study of marital
status. Kanyadaan is a complex play about the cultural and emotional
upheavals of a family. It deals with the violence in the subconscious of a Dalit
poet who is married to the daughter of a naïve socialist. A Friend’s Story is
about a lesbian and her conformation with society. Kamala (1982) and
Kandyadan (1983) are insightful studies of women written as conventional
three-act social dramas. His Fifth Woman (2004) is the last play, in which the
two protagonists wait outside a hospital with a woman’s body in a hand cart.

Vijay Tendulkar is a leading contemporary playwright. In an interview,

Tendulkar once said, “I have not written about hypothetical pain or created an
imaginary world of sorrow. I am from a middle class family and I have seen the
brutal ways of life by keeping my eyes open. My work has come from within
me, as an outcome of my observation of the world in which I live. If they want
to entertain and make merry, fine go ahead, but I can’t do it, I have to speak
the truth.”
Tendulkar’s plays have dealt with themes that unravel the exploitation
of power and latent violence in human relationships. As he noted: “the basic
urge (to write) has always been to let out my concerns vis-à-vis my reality: the
human condition as I perceive it.”
If there is one play in Tendulkar’s entire body of work that confirms his
standing as one of the country’s finest playwrights, it is Ghashiram Kotwal.
Ghashiram Kotwal is Tendulkar most controversial play. It was staged in
1972. The depiction of the historical character Nana Phadnavis is very
controversial. He was a revered statesman during the Peshwa rule in
Maharashtra that angered Brahmins and led to protests. It is directed by noted
director Jabar Patel. He faced violent protests from the audience which
targeted the artistes with eggs and tomatoes in theatre halls to stop the
performances. Ghashiram Kotwal is a musical historical play. Tendulkar came
to the defense of the play, pointing out that Ghashiram Kotwal is not a
historical play: “It is a story, in prose, verse, music and dance set in a
historical era. Ghashirams are creations of socio-political forces which know no
barriers of time and place. Although based on a historical legend, I have no
intention of commentary on the morals, or lack of them, of the Peshwas, Nana
Phadnavis or Ghashiram. The moral of the story, if there is any, may be looked
for elsewhere.”
Ghashiram Kotwal (1972) deals with political violence. The play is a
political satire set in 18th century Pune. It combined traditional techniques,
creating a new paradigm for Marathi theatre. The play demonstrates
Tendulkar’s deep study of group psychology, and it brought him a “Jawaharlal
Nehru fellowship (1974-75)” for a project titled. “An Enquiry into the Pattern
of Growing violence in society and its relevance to contemporary theatre.
Tendulkar said, “My creative writing including my plays and films I have
written, mostly dealt with my contemporary social reality. As a social being, I
am against all exploitation and I passionately feel that all exploitation must
end.” He has enriched Marathi theatre without completely breaking away from
tradition.
As a playwright, Tendulkar’s great strength lies in his dialogues. It is as
if he doesn’t need a director at all. The man seems to be able to ‘see’ every
action, every move from curtain up to curtain down. He can probably even
‘hear’ it all.

Many of Tendulkar’s plays derived inspiration from real-life incidents or

social upheavals. It was stopped because the right wing Hindu-nationalist R.S.S.
found it “Anti-Brahmin” and described the negative depiction Nana Phadnavis
historical.
Tendulkar’s approach about Feminism is reflected through his plays.
Feminism refers to the belief that woman should have the same rights, power
and opportunity that men have. Obviously, believing that women have been
denied their real status in the society and personal relationship by man. Many
playwrights like G.B. Shaw, Tennessee Williams, and Caryl Churchill etc. have
turned into feminists directly or indirectly. Vijay Tendulkar has deep concern
to the women and society. Women are mercilessly denied opportunity for open
expression of their true feelings in the tradition – bound Indian society. In this
respect and in many other respects they are at great disadvantages when
compared to men.
This article tries to present the women character in Ghashiram Kotwal.
The position of Indian women right from the beginning, they were deprived of
their rights in many ways. Ghashiram is a true story of portraying of women;
women play a key role in Tendulkar’s plays. His characters are drawn from day-
to-day life like Kamla, Leela Benara, Gauri.
Women play a central role in Tendulkar’s plays. His female characters
are mainly from the lower and middle classes, housewives, teachers,
mistresses, daughters, slaves and servants. These women bring not just variety
of social station but also a broad range of emotions into the plays: “from the
unbelievably gullible to the clever, from the malleable to the stubborn, from
the conservative to the rebellious, from the self-sacrificing to the grasping.”
His characters are often composites of contradictory personality
struggling between emotion and intellect, espoused values and conflicting
actions; seeking independence yet submissive, struggling between physical
desires and conscience. Tendulkar tended to minimize his personal influence on
these characters and their personality development. They are in the play “with
their own minds, ways and destiny,” he said. Each of them her own separate
existence and expression. Gauri, Gulabi, Brahaman wife each may
individualized through distinctive expression, appearance and gate.
His notable creation remains his outstanding play for its bold societal
themes and characterization. The depiction of women character is highly
different Gauri is the central character in Ghashiram Kotwal.
Nana become happy and expresses his carnal desire to see Gauri.
Nana. “Oh, can we ? can we fine her ? How beautifully formed ? What a lovely
figure! Did you see ? Erect! Young! Tender! Ah! Ho ho! We’ve seen so many
handle so many, but none like that one. None her equal. We wonder who she
is.
Ghashiram. Whoever she is, if the order is given, this servant will bring her.” p.
[24]
Gauri’s charm bewitches Nana to such an extent that Nana says, “If she
is not found, no one will help his head! Our grandeur’s gone if she’s not had.
We tell you, if she is found, then this Nine Court Nana will conquer Hindustan!
What a bosom! Buds just blossoming… We’ll squeeze them like this!”. She
titillates Nana’s desires to such an extent that he is forced to wear his heart on
his sleeve. “The chant continues. Nana comes in dancing to this rhythm. The
young girl comes in, ready to dance. She moves to the rhythm, makes sensuous
gestures, moves around Nana elusively, driving him berserk. She doesn’t touch
him. Every now and then, Ghashiram is seen. Nana throws him favours and
dances behind the girl. Brahamans sing to the rhythm of drum and cymbals.
Turning their backs to the audience, the Brahmins from a garden. Nana chases
the girl through the garden.” p. [25]
When Ghasiram comes to know reality he cries out loud.
Ghashiram. “Now he’s in my hands… Oh, my daughter….the beast…… Oh, you
people. Look I’ve given my beloved daughter into the jaws of that wolf! Look.
Look at this father. Putting the child of his heart up for sale. Look at my
innocent daughter a whore. That old overripe bastard! Look at him, eating her
like a peach…. Spit on me. Stone me. Look, look, but I will not quit. I’ll make
this Poona a kingdom of pigs.”p.[26]
After the death of Gauri there was great change in Ghasiram. He feels
wretched.
Ghasiram. “Oh, my child. My Gauri. A piece of my heart. Oh! Oh! Oh! Oh!
What has become of you ? What happened ? What did that devil Nana do ? That
monster. Gauri, my dear-what happened to you, my daughter?” p. [50]
Gauri is voiceless, powerless and victimized. She silently accepts the dictates
of her father. Gauri is the symbol of exploitation of female sexuality to
represent the loss and destruction in then struggle for power. Gauri’s death
represents the flip side of Indian women for their use and abuse in all walks of
life. Gauri seems to enjoy power for some time. She loses her honour, respect
and finally life when her father was looking for a groom. She is pitiable
character in the play. Her death brings a change in Ghashi Ram, he is mad with
rage. He rocks the city of Poona with his Ire.
Gulabi, the Courtesan is a dancing woman. Her house is tilted with the
people. The Brahmans of Poona are much charmed by her Lavanis. The people
enjoy of her dance. They shout and throw their turban in the air. She becomes
a special invitee of Nana and enjoys his patronage. She is the woman who gives
shelter and employment to Ghashi Ram. She tells to Nana that he is the
foreigner and has no food. She gives shelter to live. Maratha women have been
sketched in passive colours. They are the mute spectators of the tragedy. They
do not say anything of their husband when they visit Gulabi’s house. They are
also the victims of nana’s lust. Women of Poona are shown not virtuous by
Tendulkar. Some have relationship with Maratha Sardars.
Gauri’s mother is a silent sufferer. She does not object anything. She is
also shown week. She does not object when Gauri is handed over to Nana by
Ghashiram. All women in Ghashiram Kotwal are passive sufferer.

Tendulkar has delineated powerful female figures in several of his plays.

The women are minor figures. We see several kinds of women: Gulabi,
representing the prostitutes, the Brahman woman forced out of her house and
accused of being prostitute, Gauri young and innocent representing all the
young women prayed upon by people like Nana portrayed objects of exchange.
The female characters and their status shows as sex objects. They are in the
play – pawns and play things in the political game of Nana and Ghashiram.
Ghashiram is not the declaration of a new aesthetics. According to Tendulkar,
the combination of Marathi folk forms which he used came in answer to his
search for a way to tell the story he wanted to tell:
“Ghashiram started with a theme, then came the specific ‘story’ or incident
which was historical and then the search for the form began.”

The play shows moral deprivation, degradation and degeneration. The

person who is in power has shown immorality. Gender based inheritance laws
and practice deprive women of their economic, social and cultural rights.
Violence against women is rampant and this is well shown in Ghashiram
Kotwal.