Prasthan Urf Exit
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| Author | Makarand Sathe |
| Language | Marathi |
| Publisher | Popular Prakashan |
| Pages | 54 |
| ISBN | 978-81-961711-8-6 |
| Item Weight | 0.4 kg |
| Dimensions | NA |
| Edition | 1st |
Prasthan Urf Exit
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कधी काळी पुण्यातील सदाशिव पेठेत बालपण आणि कोथरूडसारख्या ठिकाणी तरुणपण अनुभवलेलं या नाटकातील वृध्द जोडपं, सध्या उच्चभ्रू सोसायटीमध्ये स्थिरावलं आहे. त्यांची दोन्ही मुलं अमेरिकेत स्थायिक झालेली आहेत. हे नाट्य घडतं ते त्यांच्या एकटेपणातून येणाऱ्या स्वतःच्या आणि एकमेकांच्या मरणविषयक विचारांच्या पार्श्वभूमीवर. परपस्परांच्या मरणोत्तर शंकेतूनच ते virtual reality मध्ये वावरणाऱ्या यमदूताबरोबरही वाद-विवाद-संवाद करत राहतात.
या नाटकातील ‘तो’ म्हणजे वृद्ध पती स्वतःला फॅसिस्ट संबोधतो, तर ‘ती’ म्हणजे त्याची वृद्ध पत्नी सोशॅलिस्ट. परंतु आयुष्यभर कोणतीच सामाजिक राजकीय भूमिका न घेतलेले, कुठल्याही आंदोलनात सहभाग न घेतलेले हे वृद्ध जोडपे आयुष्याच्या या टप्प्यावर त्यांच्या व्यक्तिगत वैचारिक, तात्त्विक बैठकींबाबत खूप मनापासून, त्वेषाने, अगदी आतून व्यक्त होतात.
हे नाटक केवळ एका मरणाच्या दारात उभ्या असलेल्या वृद्ध जोडप्याचं मनोगत किंवा आत्ममंथन नाही राहत. तर ते आजच्या काळातील एकूणच मध्यमवर्गीय senior citizensच्या पिढीच्या ‘एकटेपणा’ला संबोधित करतं. आणि समग्र स्त्री-पुरुष नातेसंबंधातील हेवेदाव्यांच्या राजकारणावर प्रखरतेने भाष्य करतं.
– अनिरुद्ध खुटवड The old couple in the play, who once spent their childhood in Pune's Sadashiv Peth and youth in places like Kothrud, are now settled in high society. Both his children are settled in America. The play takes place against the backdrop of their own and each other's death thoughts that come from their loneliness. Due to the posthumous doubts of each other, they continue to debate-discuss-communicate with Yamaduta, who lives in virtual reality.
In this play, 'he' refers to the old husband who calls himself a fascist, while 'she' refers to his elderly wife who is a socialist. But this old couple, who have not taken any social and political role throughout their life, and have not participated in any movement, at this stage of their life express their personal ideological and philosophical meetings very sincerely, hatefully, even from within.
The play is not just the introspection or introspection of an elderly couple standing at death's door. So it addresses the 'loneliness' of today's generation of middle-class senior citizens as a whole. And the overall commentary on Hevedava's politics of male-female relationships is poignant.
– Anirudh Khutwad
या नाटकातील ‘तो’ म्हणजे वृद्ध पती स्वतःला फॅसिस्ट संबोधतो, तर ‘ती’ म्हणजे त्याची वृद्ध पत्नी सोशॅलिस्ट. परंतु आयुष्यभर कोणतीच सामाजिक राजकीय भूमिका न घेतलेले, कुठल्याही आंदोलनात सहभाग न घेतलेले हे वृद्ध जोडपे आयुष्याच्या या टप्प्यावर त्यांच्या व्यक्तिगत वैचारिक, तात्त्विक बैठकींबाबत खूप मनापासून, त्वेषाने, अगदी आतून व्यक्त होतात.
हे नाटक केवळ एका मरणाच्या दारात उभ्या असलेल्या वृद्ध जोडप्याचं मनोगत किंवा आत्ममंथन नाही राहत. तर ते आजच्या काळातील एकूणच मध्यमवर्गीय senior citizensच्या पिढीच्या ‘एकटेपणा’ला संबोधित करतं. आणि समग्र स्त्री-पुरुष नातेसंबंधातील हेवेदाव्यांच्या राजकारणावर प्रखरतेने भाष्य करतं.
– अनिरुद्ध खुटवड The old couple in the play, who once spent their childhood in Pune's Sadashiv Peth and youth in places like Kothrud, are now settled in high society. Both his children are settled in America. The play takes place against the backdrop of their own and each other's death thoughts that come from their loneliness. Due to the posthumous doubts of each other, they continue to debate-discuss-communicate with Yamaduta, who lives in virtual reality.
In this play, 'he' refers to the old husband who calls himself a fascist, while 'she' refers to his elderly wife who is a socialist. But this old couple, who have not taken any social and political role throughout their life, and have not participated in any movement, at this stage of their life express their personal ideological and philosophical meetings very sincerely, hatefully, even from within.
The play is not just the introspection or introspection of an elderly couple standing at death's door. So it addresses the 'loneliness' of today's generation of middle-class senior citizens as a whole. And the overall commentary on Hevedava's politics of male-female relationships is poignant.
– Anirudh Khutwad
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