मेघदूत: "नीचैर्गच्छत्युपरि च दशा चक्रनेमिक्रमेण"

समर्थ शिष्या अक्का : "स्वामीच्या कृपाप्रसादे हे सर्व नश्वर आहे असे समजले. पण या नश्वरात तमाशा बहुत आहे."

G C Lichtenberg: “It is as if our languages were confounded: when we want a thought, they bring us a word; when we ask for a word, they give us a dash; and when we expect a dash, there comes a piece of bawdy.”

C. P. Cavafy: "I’d rather look at things than speak about them."

Martin Amis: “Gogol is funny, Tolstoy in his merciless clarity is funny, and Dostoyevsky, funnily enough, is very funny indeed; moreover, the final generation of Russian literature, before it was destroyed by Lenin and Stalin, remained emphatically comic — Bunin, Bely, Bulgakov, Zamyatin. The novel is comic because life is comic (until the inevitable tragedy of the fifth act);...”

सदानंद रेगे: "... पण तुकारामाची गाथा ज्या धुंदीनं आजपर्यंत वाचली जात होती ती धुंदी माझ्याकडे नाहीय. ती मला येऊच शकत नाही याचं कारण स्वभावतःच मी नास्तिक आहे."

".. त्यामुळं आपण त्या दारिद्र्याच्या अनुभवापलीकडे जाऊच शकत नाही. तुम्ही जर अलीकडची सगळी पुस्तके पाहिलीत...तर त्यांच्यामध्ये त्याच्याखेरीज दुसरं काही नाहीच आहे. म्हणजे माणसांच्या नात्यानात्यांतील जी सूक्ष्मता आहे ती क्वचित चितारलेली तुम्हाला दिसेल. कारण हा जो अनुभव आहे... आपले जे अनुभव आहेत ते ढोबळ प्रकारचे आहेत....."

Kenneth Goldsmith: "In 1969 the conceptual artist Douglas Huebler wrote, “The world is full of objects, more or less interesting; I do not wish to add any more.”1 I’ve come to embrace Huebler’s ideas, though it might be retooled as “The world is full of texts, more or less interesting; I do not wish to add any more.” It seems an appropriate response to a new condition in writing today: faced with an unprecedented amount of available text, the problem is not needing to write more of it; instead, we must learn to negotiate the vast quantity that exists. How I make my way through this thicket of information—how I manage it, how I parse it, how I organize and distribute it—is what distinguishes my writing from yours."

Tom Wolfe: "The first line of the doctors’ Hippocratic oath is ‘First, do no harm.’ And I think for the writers it would be: ‘First, entertain.’"

विलास सारंग: "… इ. स. 1000 नंतर ज्या प्रकारची संस्कृती रुढ झाली , त्यामध्ये साधारणत्व व विश्वात्मकता हे गुण प्राय: लुप्त झाले...आपली संस्कृती अकाली विश्वात्मक साधारणतेला मुकली आहे."

Monday, January 10, 2011

Sangeet Manapman, one of the greatest Marathi entertainers will be 100 soon!

Sidney Poitier: “…One of the reasons Marlon Brando was so brilliant, particularly at his beginning, was that when you watched him on stage, you didn't think you were watching people on the stage. You would think you were peeking in on someone's life because what he did with the words, he made them so real that that audience gets swept up."

George Orwell:”The only true test of artistic merit is survival.”

“Sangeet Saubhadra” (संगीत सौभद्र) by Annasaheb Kirloskar (अण्णासाहेब किर्लोस्कर), the greatest Marathi entertainer of 19th/20th century combined, completed 125 years of its staging on November 18, 2007. Read more about it here.

(The only rivals of these two are Loknatya /Tamasha performed by the likes of Dada Kondke दादा कोंडके among a few others.)

Sangeet Manapman (संगीत मानापमान) was first staged on March 12 1911.

I have yet to hear a better music album than that...and one of the best songs ever 'Prem Seva Sharan' (प्रेम सेवा शरण) sung by Asha Bhosle (आशा भोसले) and earlier her father Dinanath Mangeshkar (दीनानाथ मंगेशकर)... (My father wrote the first biography of Mother Teresa in Marathi. Its title: 'प्रेम सेवा शरण' 'Love, Service, Surrender')

Writer- Krushnaji Prabhakar Khadilkar कृष्णाजी प्रभाकर खाडिलकर

Music- Govindrao Tembe गोविंदराव टेंबे (Read a post on him here.)

Cast- Joglekar जोगळेकर , Ganpatrao Bodas गणपतराव बोडस...Bal Gandharva बालगंधर्व

Baldanharva's only daughter died on the morning of March 12 1911 but the show went on...

Following is from one of the best Marathi books of 20th century that also won Sahitya Akademi Award in 1958: 'Bahurupee' ('बहुरूपी') by Chintaman Ganesh Kolhatkar (चिंतामण गणेश कोल्हटकर), first published October 1957.

Krushnaji Prabhakar Khadilkar


K P Khadilkar's hand writing
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2 comments:

mannab said...

आपण आज ज्याची आठवण आम्हाला करून देत आहात, त्याचे अगत्य वाटले. आज ही नाटके पाहायला मिळत नाहीत. निदान त्यातील गाणी ऐकायला मिळतात, हे आपले सौभाग्य आहे. आपल्या समयोचित ब्लॉगबद्दल मनःपूर्वक आभारी आहे. कालांतराने कै. मो.ग. रांगणेकर यांनी मराठी रंगभूमीला जे नवजीवन प्राप्त करून दिले, त्याची आठवण येथे आल्यावाचून राहत नाही.
मंगेश नाबर

January 11, 2011 at 8:13 AM
Aniruddha G. Kulkarni said...

Thanks Mangesh.

When I read your words, I often think it really was worth it.

Thanks again,

January 11, 2011 at 8:25 AM

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