![]() In the constitution of the fantasy-character, the play revisits contemporary cultural understanding about womanhood as exhibited and constructed by Sangeet Natak. The play is unique for calling our attention to the place of mediocre female impersonators in the supposedly golden age of Marathi Sangeet Natak/musical plays. The result is a complicated network of gendered social meanings, theatrical references and unfulfilled desires instead of any narrative. The character is constituted by the female impersonator's aspiration for important female roles and the clerk's aspiration for a normative familial life. Nalawadebai/Sarangnayana serves as an interface for one of the clerks and the female impersonator. This is a complex exercise because the fantasy-character is inscribed on the impersonator's male body in the wake of the physical absence of woman in the play. The mixing of their imaginations creates a female fantasy-character called Nalawadebai/ Sarangnayana. It accommodates a universe constituted by the imagination of petty men-a female impersonator actor, a gambler and two ordinary clerks. Satish Alekar's play Begum Barve (first performed in 1979) is a play of fantasies superimposing reality. ![]()
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