The Colossus That Was Bapurao Naik

(Arun Naik, Bapurao Naik's elder son speaks at the Mumbai Marathi Sahitya Sangh kickstarting Bapurao Naik's centenary year celebrations).

Sahitya Sangh had its own publications’ wing and it brought out a book in 1969. It had excellent articles by stalwarts. My father wrote ‘Marathi Rangabhoomicha Tantradrushtya Vikas’. This is a seminal article. It traces the history of Marathi theatre, the influences of Sanskrit theatre, Bharata’s Natyashastra, Indian folk traditions, English language plays done in Mumbai, Parsi theatre. It describes the designs of plays from the beginning and shows how we were very slow in developing a modern style or practice. It talks about painted scenery and painted curtains. Then it shows how new theatres and influences of other language theatres slowly changed our practices in set design, like box sets, and how the Norwegian playwright Henrik Ibsen made it necessary to adopt what the modernists did, including the very important impact of thinkers like Edward Gordon Craig. I am sure that this is the only and the most important piece of scholarly and researched writing on Marathi theatre, especially on stagecraft.

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The Colossus That Was Bapurao Naik(Arun Naik, Bapurao Naik's elder son speaks at the Mumbai Marathi Sahitya Sangh kickstarting Bapurao Naik's centenary year celebrations).

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The Colossus That Was Bapurao Naik

(Arun Naik, Bapurao Naik's elder son speaks at the Mumbai Marathi Sahitya Sangh kickstarting Bapurao Naik's centenary year celebrations).