THE PLAYWRIGHT AS A SOCIAL CRITIC

A CRITICAL STUDY OF VIJAY TENDULKARS SILENCE! THE COURT IS IN SESSION

Abstract

I have written about my own experiences and about what I have seen in others around me. I have been true to all this and have not cheated my generation. I did not attempt to simplify matters and issues for the audience when presenting my plays, though that would have been easier occupation …. My plays … contain my perceptions of society and its value and I cannot write what I do not perceive. (Vijay Tendulkar ‘Afterword ’, Kanyadaan 71).

Of all the literary genres, drama can be considered the most appealing and the most splendid literary genre. As a visual and composite art, it remarkably illustrates the magnificent saga of human life in varied forms and manifestations. By turning an actual reality into an excellent aesthetic experience, drama proves to be one of the best audiovisual mediums of expression. As a powerful literary composition and effective medium of communication, it unfolds in a picturesque manner the moral, ethical, religious, philosophical, social, cultural and political thoughts and views of the countries the world over. Being deeply associated with the inner consciousness of the human race, it represents man"s hopes, aspirations, visions, ideas, objectives, joys and sorrows with great insight. While discussing the multitudinous nature of drama and theatre, Bharata in his world-famous book, Natyashastra states: “Theatre is life. There is no art, no craft, no learning, no yoga, no action, which cannot be seen in it” (qtd in Rangacharya 35). As the highest form of artistic expression, drama is not only a delightful source of entertainment but also a powerful vehicle of instruction and illumination.