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."

Wednesday, December 23, 2020

टोकयो स्टोरी आणि नटसम्राट....Why Aren't We Subtle?

#नटसम्राट५०
आज २३ डिसेंबर २०२० ला नटसम्राटच्या पहिल्या प्रयोगाला ५०वर्षे पूर्ण होत आहेत

Jonathan Crow, April 2019, Open Culture:
“Beginning in 1992, Sight and Sound started to poll famed directors about their opinions. People like Martin Scorsese, Francis Ford Coppola, Mike Leigh and Michael Mann. So what is the best movie ever made according to 358 directors polled in 2012? Kane? Vertigo? Perhaps Jean Renoir’s brilliant Rules of the Game, the only movie to appear in the top ten for all seven critics polls? No.

Instead, the top prize goes to Yasujiro Ozu’s Tokyo Story.

It’s a surprising, an enlightened, choice. Ozu’s work is miles away from the flash of Kane and the psychosexual weirdness of Vertigo. Tokyo Story is a gentle, nuanced portrait of a family whose bonds are slowly, inexorably being frayed by the demands of modernization. The movie’s emotional power is restrained and cumulative; by the final credits you’ll be overwhelmed both with a Buddhist sense of the impermanence of all things and a strong urge to call your mother....”

टोकयो स्टोरी मधले काही संवाद: 
 
< But it surprises me how children change.
Shige used to be a much nicer person before.
She did, didn't she?
When a daughter marries,she becomes a stranger.
Koichi has changed, too. He used to be such a nice boy.
Children never live up to their parents' expectations.
Let's just be happy that they're better than most.>

They're just selfish. Demanding things and then leaving just like that.
That can't be helped. They have work to get back to.
But you have yours too.
- They think only of themselves.
- But Kyoko...
Asking for mementos of mother right after her death! I felt so sorry for poor mother. Even strangers would have been more considerate.
But look, Kyoko, I thought so too when I was your age. But, as children get older, they drift away from their parents.
A woman has her own life, apart from her parents......when she becomes Shige's age.
So she meant no harm, I'm sure. They have their own lives to look after.
I wonder...But I won't ever be like that.  Otherwise what's the point of being part of a family?
You're right. But all children become like that eventually.
You, too?
I may become like that, in spite of myself.
Isn't life disappointing?
Yes, nothing but disappointment.> 
 
'टोकयो स्टोरी' (Tokyo Story, 1953) हा अत्यंत कौतुक झालेला, नावाजलेला आणि माझा अत्यंत आवडता सिनेमा हा बऱ्याच प्रमाणात मोठी झालेली मुले आणि त्यांचे त्यांच्या आई-वडिलांशी संबंध या विषयावरच आहे पण त्याच विषयावरचे मराठी नाटक 'नटसम्राट' , १९७१ हे इतके भडक  आहे कि वाटले आपण मराठीत टोकयो स्टोरी सारखे नाजूक का होऊ शकत नाही?

आणि म्हणूनच मग टोकयो स्टोरी इतके जगभर गाजते पण नटसम्राट भारत/ भारतीय लोक ओलांडून क्वचितच कुठे गेले ते त्यामुळेच का? 
 
(टोकयो स्टोरी चा प्रभाव नटसम्राट वर नक्कीच पडलेला आहे असे मला वाटते.)


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