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.”

Friedrich Nietzsche: “Everybody wants the same, everybody is the same: whoever feels different goes voluntarily into a madhouse.”

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....."

John Gray: "Unlike Schopenhauer, who lamented the human lot, Leopardi believed that the best response to life is laughter. What fascinated Schopenhauer, along with many later writers, was Leopardi’s insistence that illusion is necessary to human happiness."

Justin E.H. Smith: “One should of course take seriously serious efforts to improve society. But when these efforts fail, in whole or in part, it is only humor that offers redemption. So far, human expectations have always been strained, and have always come, give or take a bit, to nothing. In this respect reality itself has the form of a joke, and humor the force of truth.”

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

Friday, November 09, 2018

Sakharam's Champa is Dead, This Time For Real....लालन सारंग

#लालनसारंग #सखारामबाईंडर
 
Writing Vijay Tendulkar’s विजय तेंडुलकर obit, Girish Karnad says:
“…Then came Sakharam Binder. It's not only Tendulkar's best play, but one of the masterpieces of Indian drama. When first performed, several political parties united to demand a ban on the play, and it had to be rescued by the courts. Its critics claimed to be scandalised by its overt sexuality. But one suspects that Tendulkar had once again hit a raw nerve, the basic middle-class hunger for property as a guarantee of security, and the ruthlessness this hunger could unleash. Lakshmi, a perfect embodiment of Hindu womanly virtues, manoeuvres a murder to keep the roof intact over her head, invulnerable in her sense of moral rectitude…”
(Outlook June 2, 2008)

I lived in Mumbai continuously only from mid-1983 to mid-1987 but I got lucky.

I watched नीळू फुले (Nilu Phule) and लालन सारंग (Lalan Sarang) perform सखाराम बाईंडर (Sakharam Binder) at साहित्य संघ ,गिरगाव (Sahitya Sangh,Girgaum) from the first or the second row.

I have yet to see a better performance than that on either Indian stage or Indian cinema's silver screen.

I understand he felt emotionally exhausted after every performance of Binder. Why not? I felt devastated watching him just once.




'बाइंडरचे दिवस', कमलाकर सारंग, १९८४/१९९९

कृतज्ञता : कमलाकर सारंगांच्या कार्याचे कॉपीराईट होल्डर्स

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