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Introduction by Kumar Ketkar<br/><br/>Night One<br/>Prologue: It So Happened -- Introduction: First Period, 1843 to 1880 -- First Plays (A), Mythological: Vishnudas Bhav / Sita Swayamvar -- First Plays (B): Mahatma Jyotiba Phule /Truteeya Ratna -- First Plays (C), Bookish /Historical: V.J. Kirtant / Thorale Madhavrao Peshawe <br/><br/>Night Two<br/>Initial Social Plays: Raghunath Shankarshastri Abhyankar / Prahodh Vidyut arthat Swair Sakesha -- M.B. Chitale / Manorama Natak -- First (Translated) Political Play: Deenabandhii Mitra / Nee/ Darpan (Translated by Vitthal Moro Walwekar) <br/><br/>Night Three<br/>An Introduction to Farce -- N.H. Bhagwat / Mor L.L.B. Prahasan -- Epilogue: First Period, 1843 to 1880 <br/><br/>Night Four<br/>Introduction: Second Period, 1880 to 1930 -- Beginning of Musicals / Sangeet Rangabhoomi : Annasaheb -- Kirloskar—Sangeet Shaknntal and Sangeet Saubhadra -- Early Orthodox, Cultural Nationalist Prose Plays: N.B. Kanitkar / Taruni Shikshan Natika and Sammativayacha Kayada -- Reformist Social Plays: Govind Ballal Deval / Sangeet Sharada <br/><br/><br/>Night Five<br/>Beginning of Political Plays: Shankar Moro Ranade / Adhikardan Vivechana athava Sthanik Swarajya Vataghat -- W.R. Shirvalkar / Rana Bhimdev athava Khara Rajput and B.H. Patwardhan / Ranasimha aani Bakula athava Prachin Rajyakrantiche Chitra -- Tilak and Marathi Theatre <br/><br/>Night Six<br/>Political Plays of the Second Period: An Introduction to K.P. Khadilkar -- K.P. Khadilkarc / Sawai Madhavrao Yancha Mrityu, Kichakavadh, and Bhaubandaki -- Cultural Nationalist Plays of the Second Period: D.V Nevalkar / Sagrasangeet Tarakmarak Natak, Sangeet Dandadhari Natak, and Dharmarahasya athava Antyajoddar <br/><br/>Night Seven<br/>Second Phase of Khadilkar's Plays: Sangeet Manapman, Sangeet Draupadi, and Sangeet Menaka -- Colonial Censorship and Response Given by Theatre -- Melas and Satyashodhaki Jalsas -- Some More Socio-political Plays and Discussion of Historical Plays: N.C. Kelkar / Totayache Band, Govindrao<br/>Tembe—Sangeet Pat-vardhan Natak, and K.H. Dixit—Raja Satvadhir -- <br/><br/>Night Eight <br/>Start of Experimental Theater: R.C. Gadkari / Sangeet -- Preniasanxas, Sangeet Ekaeh Pyala, and Sangeet Mookanayaka -- Diwakar / Mag to Diwa Konta? -- Theater before 1930: Women and Female lmpersonators <br/><br/>Night Nine<br/>The Playwright Who Started Many Socio-political 'Trends: B.V. Warerkar—Kunjavihari -- B.V. Warerkar / Hach Mulacha Baap, Sanyashacha Sansar, Satteche Gulam, and Turungachya Darat <br/><br/>Night Ten<br/>Plays in Fav our of Armed Revolt and a Different Kind of Social Reform: V.D. Savarkar / Sangeet Ushshyap, Sangeet -- Sanyasta Khadga, and Sangeet Uttarkriya -- Plays Dealing with Religious Tensions and Conversions: Shri Shankaracharya Kurtakoti—Gangasammati athava Hidukaran Manyata and D.G. Sarolkar / Sangeet Janatajanardan <br/><br/>Night Eleven<br/>Initial Leftist Plays/Plays about Labour: B.V. Warerkar / Sonyacha Kalas, M.N. Joshi—Sangeet Giraniwala, and Ganeshshastri Phatak—Mazi Jamin -- Changes in Political Theatre after 1920: M.N. Joshi / Sangeet Sthanik Swarajya arthat Municipality, V.S. Khandekar / Rankache Rajya, and PK. Atre / Me Ubha Aahe <br/><br/>Night Twelve<br/>Some Other Socio-political Currents (A): K.H. Dixit / Sundennath, V.H. Aundhkar / Bebandshahi and Agryahun Sutaka, Different Representation of Gandhism: Y.N. Tipnis / Rajranjan, and Remembering Tilak: B.N. Pande—Sangeet Punaragaman -- Some Other Socio-political Currents (B): Vasudevshastri <br/>Khare—Ugramangal, G.V Shetye / Rakshabandhan, and Vaman Gopal Joshi's Discussion Plays / Dharmasinhasan and Ranadumdubhi -- Epilogue: Second Period, 1880 to 1930 <br/><br/>Night Thirteen<br/>Introduction; Third Period, Next Pliase of Modernity and Professionalism: S.V. Vartak / Andhalyanchi Shala -- Next Phase of Bahujan Theater; A Fresh Breath of freedom, Anibedkari Jalsas -- Middle-class Escapist Theatre: N.S. Phadke / Yugantar <br/><br/>Night Fourteen<br/>A Different Current about Caste Reality: Prabodhankar Keshav Seetaram Thackeray / Taklela Por and Khara Brahman -- V.V Shirwadkar / Peshawa -- Political Plays after 1930 : D.N. Shikhare / Aath Sal, <br/>G.K. Bodas / Pujya Gandhiji, and an Important Gandhian play G.Y. Chitnis—Nava Paeek<br/><br/>Night Fifteen<br/>Plays on Women's Issues after 1930: K.P. Khadilkar /Band and P.K. Atre / Gharabaher and Jag Kay Mliajiel -- M.G. Rangnekar / Kulwadhu and One Remarkable Feminist play Mama Warerekar / Bhoomikanya Sita -- Epilogue: Third Period, 1930 to 1955 <br/><br/> |
