Vijay Tendulkar as a dramatist

 

Vijay Tendulkar: The Dramatist Who Dissected Power and Violence in Indian Society

Vijay Tendulkar (1928–2008) stands as one of the most powerful and uncompromising voices in modern Indian theatre. Writing primarily in Marathi, his works have transcended linguistic and regional boundaries, influencing the trajectory of Indian drama in the post-independence era. With a body of work that interrogates the moral, political, and psychological structures of society, Tendulkar emerges as not merely a playwright but a social critic, philosopher, and psychological realist.

Major Themes in Tendulkar’s Dramas

 

Power and Violence

 

The central axis around which Tendulkar's dramas revolve is the relationship between power and violence. He explores how power, whether patriarchal, political, or social is exercised, abused, and internalized. In Ghashiram Kotwal, power is shown as seductive and corrupting. The eponymous character becomes a pawn of Brahminical power structures and then turns into a tyrant himself. The play is an allegory of authoritarianism and corruption.

 

Patriarchy and Gender Oppression

 

Tendulkar’s plays are often brutally honest portrayals of women trapped in the stranglehold of patriarchy. In Sakharam Binder, Sakharam takes in deserted women under the pretext of offering shelter without emotional commitment, yet the power he holds over them results in psychological violence. In Kamala, based on a real-life incident of a journalist who purchases a woman in a flesh market to expose trafficking, Tendulkar critiques the objectification of women and also lays bare the commodification of human life for sensationalist journalism.

 

Hypocrisy of Social Institutions

Whether it is the press (Kamala), religion (Ghashiram Kotwal), or the bourgeois family structure (The Vultures), Tendulkar exposes the hollowness and double standards entrenched in these institutions. His characters often mask their moral decay under the guise of respectability.

 

 

Psychological Realism

A hallmark of Tendulkar’s writing is his deep psychological insight into characters. His protagonists are often torn, fragmented individuals, neither wholly evil nor good. In Silence! The Court is in Session, Miss Benare, a schoolteacher, is subjected to a mock trial that reveals her real trauma and societal alienation. The courtroom becomes a metaphor for a cruel, judgmental society.

 

Stylistic Innovations

Brechtian Influence and Epic Theatre

Ghashiram Kotwal is the most explicit example of Brechtian techniques. The use of a chorus (sutradhar), music, and dance to comment on the action reminds one of epic theatre traditions. Tendulkar uses these devices not merely for aesthetic effect but to alienate the audience, compel them to think critically, and question the historical glorification of tyranny.

Use of Satire and Irony

Tendulkar is a master of satire. He often uses humour as a subversive tool. The sharp, biting dialogues in The Vultures and Ghashiram Kotwal are steeped in irony, revealing the grotesque underside of familial piety or social loyalty.

 

Minimalist Stage Directions and Realistic Dialogue

His dramas, while politically loaded, maintain a naturalistic surface. He uses colloquial language, idioms, and verbal rhythms true to the Marathi middle and lower classes, making his characters authentic and grounded.

 

 Metatheatre and Role-Play

In Silence! The Court is in Session, the idea of a play within a play is used to devastating effect. What begins as a mock trial soon becomes a brutal psychological interrogation, blurring the line between performance and reality. This technique serves as a metaphor for how social norms are 'performed' and how individuals become victims of these performances.

His plays have been translated into several languages and have been staged across the world, showing their universal relevance. Directors like Satyadev Dubey, Arvind Deshpande, and Jabbar Patel helped popularize his work through powerful stagings. While Tendulkar’s plays were celebrated for their boldness, they also invited controversy. Sakharam Binder was banned temporarily for its ‘obscene’ content. Ghashiram Kotwal sparked protests for its critique of Brahminical power. However, Tendulkar remained unapologetic, believing that theatre must provoke rather than pacify. His commitment to truth, no matter how uncomfortable, earned him accolades including the Padma Bhushan, the Sangeet Natak Akademi Award, and the Kalidas Samman. But more than awards, his real contribution lies in how he transformed the Indian stage into a space of radical inquiry.