Vijaya Mehta | Drama school named Bai!

Vijayabai Mehta, a talented, talented artist who has made hundreds of plays in Marathi theater with her strong acting and ingenious direction, has expanded the scope of Marathi drama. His ‘Jhimma’ on the stage is fantastic! He has become an independent identity as the promoter of modern Marathi theater. There are some turning points in […]
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Vijaya Mehta |  Drama school named Bai!


Vijayabai Mehta, a talented, talented artist who has made hundreds of plays in Marathi theater with her strong acting and ingenious direction, has expanded the scope of Marathi drama. His ‘Jhimma’ on the stage is fantastic! He has become an independent identity as the promoter of modern Marathi theater.

There are some turning points in the life of a painter. This time everything will be overwhelming. Even more dramatic than cinema. That period is 1956. Durgabai Khote asked a twenty-one-year-old girl with two wigs in confidence, ‘You will have to take on the responsibility of directing from now on. Convince your family about this. Because directing takes more time than acting. Get their permission and then start this new work. And yes, your marriage negotiations haven’t started yet, have you? Otherwise you would get married and pass away ‘

Vijay Tendulkar’s play ‘Shrimant’. All the senior and great actors by age and experience, but the overall understanding of the plays is full in that young lady. And Tendulkar said in the rehearsal moment that the call ‘byss’ kept ringing… and the twenty-one year old girl was stunned. Went round. The title of ‘Bai’ was conferred on him. The twenty-one-year-old ‘Bai”s performance to date is the golden drama journey of an accomplished actress and director.

Vijaya Mehta is a drama in a storm!

Acharya Atre, Vs. Or. Shirwadkar, William Shakespeare, Bernard Shaw, Vijay Tendulkar. This Natyasafar from 1951 to 1993, which witnessed a long period of time, started from the occasional playwriting, the role of this play reached the completion of Jhimmach Wada Chirebandi. In ‘Wada Chirebandi’, she played the role of mother along with a new generation of young painters and also directed. ‘Kalavaibhav’ was created. As the promoter of modern Marathi theater, he shaped hundreds of painters like a beacon. Supported.

‘Indirabai in politics and Vijayabai in theater!’ That is a fact. Because both of them were drama teachers who made history on their own. Were sensitive painters. She was also an ingenious director. As the Executive Director of NCPA for 17 years, he also proved his administrative skills and gave priority to Marathi and other language plays. He was awarded the Padma Shri by the Central Government.

Universities awarded him a doctorate. She also witnessed the golden age of the drama movement ‘Rangayan’. So the play got a direction. He has also written an autobiographical book, Jhimma, which traces his career. Senior journalist and critic Ambareesh Mishra assisted Yakami Baina in writing. This book was produced by Rajhans Prakashan in 2012.

Nana Patekar, Rima Lagu, Vikram Gokhale, Dilip Kolhatkar, Mangesh Kulkarni, Nina Kulkarni विज were created by Vijayabai. The rites of acting were performed on him. They emerged as a link between commercial and experimental theater. They used it from one-act plays to complete plays, which is fantastic.

He accompanied Tendulkar in at least a dozen one-act plays like Vijay Tendulkar’s Keshav Pradhan, Thief Police, Four Days, Boring Day in the Dark City, Indigestion of Voice, Four Days, Vitthal To Aala (in these three Hindi), Chitragupta Aho Chitragupta, Bali. As an ‘experiment’, it was like a golden age in the one-act world. He also did several one-act plays for Pul, mainly directing. The names of all the quiet, sadhu and dadu, big fish, small fish, new gokul will have to be mentioned. Mumbai Marathi Sahitya Sangh in Girgaum was the only one-act play workshop for women at that time.

That period is 1957 to 1960. ‘Vijaya Jaywant’ was happening through it. Gangadhar Gadgil’s one-act play Crazy Square, Two Zero and One, he directed for the competition for Jayhind and Wilson College. Around 1958, in 1959, he directed BEST’s complete play ‘Uddhav’. At that time, instead of that victory, the victory was false. She was a solid, mature and creative director with a strong sense of theater.

He also acted under the direction of Pul. Didi Raje and Maneka played their roles in ‘Sundar Me Honar’. Ch. Trin. Khanolkar’s play ‘Ek Shunya Bajirao’ was performed by ‘Rangayan’. He also directed and played the lead role of Gauri. Mahesh Elkunchwar, Vrindavan Dandavate, Sh. Govt. Sathe’s code was also shaped by his new spectacle ‘Vijaya Mehta’. One of Evana Bai’s schools was in good shape. He gave the skill of giving drama awareness to the audience through his directing and acting.

Vijayabai played the lead role of ‘Meena’ in ‘Mala Uttar Havanya’ while Nandkumar Ravate was the director. In the same year, ‘Eka Gharat Hoti’ came on the stage. It was directed by Bai. Mohansheth Tondwalkar did not put any fault in the production value. Both the plays came on the stage under the banner of their artistry. I Want Answers is the first commercial drama after Vijayabai’s ‘Rangayan’. Srikant Moghe was with Vijayabai. He was in a wheelchair throughout the play. However, the fans liked ‘I want an answer’. Tour experiments increased. Mohansheth was happy as a producer. After the ‘Rangayan’ broke out, the doors of the commercial were opened wide. Kids in a burst of coloring! So this ‘team’ got a new identity. Mangesh Kulkarni of Rangayan had said to Pandit Satyadeva Dubey, ‘Futanam’ has different meanings in Marathi language. Why can’t the mirror be broken once the mirror is broken; But the tree sprouts and the branches come out. Rangayan’s branches are one of the many inventions. Rangayan is flourishing, it is not over! ‘ Around 1970, ‘Rangayan’ broke out and new festivals started.

The three plays ‘Sandhya Chhaya’, ‘Jaswandi’ and ‘Akhercha Sawal’ toured the housefull crowd across Maharashtra. He also set a record of 25 experiments in 30 days. Repeat show. Baini had also decided not to experiment with the play at that time. That’s how much their breath was taken away. They waited differently after 1974. She was exploring herself in various mediums as a world artist in world cinema, cinema, television, drama teacher, government responsibilities etc. Among the quality works of art produced by the Mumbai Marathi Sahitya Sangh, in 1973, ‘Ajab Nyay Vartulacha’ has to be mentioned. Sign of Bertolt Brecht’s Code. Trin. It was translated by Khanolkar and directed by Vijayabai. He took up the challenge of directing.

The Goa Hindu Association brought Jaywant Dalvi’s play ‘Sandhyachaya’ on the commercial stage around 1973. He was directed by Madhav Watwe. The role of ‘Nani’ became history. Later, Sonia from Sai Paranjape’s ‘Jaswandi’, Dr. Vasant Kanetkar’s ‘Last Question’. Mukta, Anil Barve’s ‘Hamidabai’s Kothi’, Hamidabai, Jaywant Dalvi’s ‘Barrister’s’ Aunty Mahesh Elkunchwar’s script directed by Baini and the role of mother is his last appearance on the stage! He not only traveled a long time as a silent witness, but also brought consciousness to the vertical drama. Rooted new color concepts.

He also took a closer look at foreign theaters. He read thousands of codes. They did. He enriched the commercial and experimental theater. Reached as the President of Natya Sammelan. This is an uplifting drama graph. Coincidences are fantastic.

After Durgabai Khote and Jyotsna Bhole, the president of the women’s drama convention. He accepted the responsibility of presiding over the 67th Natya Sammelan held at Ichalkaranji in 1986. Durgabai is a liar and Vijayabai is a mother-in-law! They both deal with their confidence as they choose to embark on their play activities. Durgabai was the chairperson of the 43rd Natya Sammelan in Delhi in 1961, and Vijayabai in 1986. She considers Durgabai as her role model. Sasubai and the lady of Gurusthan paid homage to him. Beat to the end. When Durgabai was in her late nineties, she wrote an autobiographical book, ‘Me Durga Khote’. At that time Durgabai was staying in Alibag. Durgabai’s health was deteriorating. Finally Vijayabai brought him to Mumbai. Until the end, the relationship between the two was mother-daughter instead of mother-in-law.

On the occasion of press conferences and in some programs, it was decided to meet Vijayabai. She had a body language as a strict headmistress of a school, but she still had a mischievous attitude. The style of answering questions directly and clearly, the thoughtfulness, the habit of talking face to face: the whole thing is overwhelming. Although he has given up acting and directing in the theater, the magic around him has not diminished. This is what I felt every time. He had directed Girish Karnad’s ‘Nagmandal’ in Hindi and German around 1993. They had met in the meantime. It was a production of Goa Hindu Association, Leaping Theater and NCCA. That was his last directing.

Vijayabai played in the play. At the highest position in the field of drama, he also became the standard bearer of the post of Sammelanadhyaksha. Played in the play. He went crazy. At one point the woman says, ‘I found the answer in Picasso’s words as to why I was addicted to drama! ‘I must have loved the journey from untruth to truth. The re-creation of the reality that has to be done for that and the zing that comes out of it must have been felt again and again. Why is it difficult to escape once it has been hit! ‘

Why did you play in the theater? To this question Vijayabai says, ‘Play for joy!’ The play is called ‘Khel’ in Marathi, ‘Khel’ in Hindi, ‘Play’ in English and ‘Epil’ in German. It also means ‘game’. This game feels like ‘Zimmya’ to me. Because the participation of many in our traditional ‘Jimmya’ is important. All cast, writers, directors, backstage troupe, technical support and audience. This game has a rhythm. This game is full of emotions, tangible and intangible, true and false! I played Jimma a lot. If it keeps resonating in the minds of the fans, it will come true like a colorful experiment. ‘ Salute to Vijayabai’s colorful ‘Natya Jhimma’!

– Sanjay Dahale

sanjaydahale33@gmail.com