Tamil theater topics

In the last century, the Tamil Theater and the city of Chennai have developed together. From Puranic stories and nationalist plays to political satire and technical experiments, the city’s phases were affected by its social and cultural changes.

Thiruvottiyur kasiviswanatha mudaliar made leading efforts in the early 1860s with his game Dumbachri vilasamThe father of the modern Tamil Theater is believed to have established the Suguna Vilasa Sabha in Madras in 1891, first located in George Town and later on Mount Road. The gathering plays with popular prose realistic acting and minimal songs. Samban Mudaliyar wrote more than 100 plays, acted in most of them. His comic work Subcathee Won widespread praise. Victoria Public Hall was a major place for his congregation.

Shankaradas Swamigal trained the theater by training the artists through his Samaras Sanmarga Sabha. His work promoted the rise of boys companies, which staged several hits. In 1922, during the Swadeshi Movement, TP Krishnasamy Pavlar Kadrin Votari It was banned by the British in Madras. Retail Devotional devotionLater at an exhibition in London, also a nationwide demonstration.

Feminist theater activist A. Mangai remembers that in the beginning of 20^Wan Century, Balamani Ammal broke the new land as an actor and producer with the establishment of the first female-run theater company as an actor and producer. Along with his sister Rajambal, he staged the first conversion of Junior Rangaraju’s spy novel RajambalThe Othawadai Theater near the Central Station was another important hub, hosting stalwarts like Mr. Radha and NS Krishnan. TKS brothers dominated the stage like plays for decades Uyiroviam, Rajaraja CholnAnd Equivalent,

Ms. Mangai says that the topics of the Tamil theater were never completely Purana. As it works Kovalan Kadh Painted the lives of common people, while others addressed political and social issues. The Dravidian movement CN Annadurai, M. Through data like Karunanidhi and Sri Radha, he brought socio-political narratives to the Tamil theater, who later made a mark on cinema and politics.

By mid -20^Wan Century, Sashan with Sashwhans flourished in South Madras. Mylapore and T. Nagar were held up with sabhas, who staged everything from Purana to political satire. Komal Swaminathan played an important role in organizing the annual theater festivals in Madras.

Many plays by Cho. Ramsamy, Bombay Gyanam, Kathadi Ramamurthy, Y. Yes. Mahendra, S.V. Sekhar, and Crazy Mohan received widespread praise among the middle class with melodrama and humor.

Evergreen comedy

“Crazy used to take the theme from domestic conditions and add loud humor to it. We continue to stage a play, which we first staged in 1979 with the same subject. The audience enjoyed it, yet he remembers it,” the playwright ‘Madu’ Balaji, Crazy Mohan’s brother.

In the 1980s, N. Muthuswamy, and established by Chennai Kali Kuju, Kothu-Pitris like Mandali, led by Pratyana, focusing on contemporary social issues, adding a fresh dimension to the Tamil Theater.

Ms. Mangai said that the spaces of the iconic dancer-choreographer Chandrakkha in Besant Nagar had become a house to use the uses of auditorium theater groups and to conduct workshops. The annual cultural festival Chennai Sangam has also played an important role in making the performance more accessible to the public.

Amateur Tamil Theater artist Karthik Bhatt says, “More congregation is coming in Chennai and experimenting with various subjects and new production values. They are also engaged in novel methods and make active efforts to take theater in the next generation.”

Today, places like Chennai Theater Academy, Meda, Idam and Sangam keep the Tamil Theater alive. Nevertheless, shrinking performance and rehearsal spaces are a concern.

Says Ms. Mangai, “The availability and access of places for rehearsal and group performance has shrunk. We should resume urban places. Architects and urban planners should take into account developing places for creative art forms,” called Ms. Mangai.