By Reema Gehi, Mumbai Mirror | Updated: Aug 31, 2014, 00:35 IST
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After a long lull, Parsi-Gujarati theatre gets a shot in the arm with young talent from the community dishing out fresh stories, Bawa-flavoured.
Last Saturday on Khordad Saal, a day when the Parsi Zoroastrian community celebrated its Prophet’s birthday, the all-Bawa crew (with a few “honorary Parsis”) of SodaBottleOpenerWala was ready to see the curtains rise yet again to a packed Tata Theatre. Earlier that week, the young men and women behind SiLLy PoiNt Productions, had revelled in the energy of a full house when the play about an Irani café and the mayhem behind the making of mawa cakes had premiered.
That evening, five more Parsi-Gujarati plays - Sam Kerawalla’s Hasa Has, Dinyar Contractor’s Bhaag Bawa Bhaag, Dinyar Tirandaz’s Darling Humna Nai, Vistasp Gotla’s Savaksa Ni Sex Badlai and Cyrus Dastur’s Havey Mane Joi Lav - were performed across venues.
This was a first in many years, says Contractor, a veteran who has made generations of Parsis leave the auditorium smiling in time for their salli boti dinner on Pateti. “It is like a revival of some sort,” he smiles, glad that the myth of Parsi theatre losing its grip is being challenged - this time, by young stage talent.
The 74-year-old, whose Dinyar Contractor Productions, collaborated with Jim Vimadalal to stage Bhaag Bawa Bhaag on Navroze and the Parsi-Gujarati-Hinglish adaptation of Derek Benfield’s Touch and Go in June, says the young lot bring with them sleek production values and the ability to market theatre. “The onus to take Parsi theatre forward is now on them,” he says, highlighting a movement that theatre stalwarts believe has well begun.
It’s a serious responsibility Contractor refers to, considering the Parsis are credited with launching the modern theatre movement in India in the 1850s, influenced largely by European drama.
Back in the day
The earliest plays were Indianised versions of Shakespeare (Dil Farosh was an adaptation of The Merchant of Venice and Gulnar Firoze was based on Romeo and Juliet). The Parsi Natak Mandali (1853), considered the first Parsi theatre group, was owned by Gustadji Dalal and supported by Dadabhai Naoroji, K R Cama and Ardeshir Moos, among others. Companies owned by wealthy businessmen toured the country, collaborating with local talent to give rise to plays in Gujarati, Urdu and Hindi.
Then, the post-independence era brought with it new writing, and the birth of thespians like Pheroze Antia, Dr Ratan Marshall, Dorab Mehta and Adi Marzban. They were credited with freeing Parsi drama from tradition, introducing realism into scripts and bringing regularity to performing. “The weekly staging was possible because Adi, for instance, had a dynamic producer like Pesi Khandalawala, who encouraged artistes,” says Kerawalla. “And so, the momentum grew gradually.”
In 1966, when Marzban’s repertoire split, several key members including prolific actor couple, Burjor and Ruby Patel, branched out, starting a Parsi wing in collaboration with the Indian National Theatre. “We did some wonderful plays like Hello Inspector, directed by Arvind Thakker. It was a thriller with a smattering of humour,” recalls Patel.
In 1987, he teamed up with Marzban to launch a production house. Their first venture was an American comedy, My Daughter Rated X (Marzban decided to call it My Darling Daughter), which opened at the Bhulabhai Auditorium to a full house. “Back then, it was about sophisticated humour. Plays weren’t vulgar or offensive, a trait that Parsi nataks eventually became associated with,” he says, referring to the gradual fading of fantasy, melodrama, folk and spectacle genres to give way to the comedy-farce routine typical of plays performed on Pateti and Navroze.
Kerawalla, one of the foremost technical directors of Parsi stage, is one of the few to have continued the tradition of staging a play written or previously performed by Marzban every year. “The Tata Theatre is booked on August 18 every year. It has been a norm since the 1970s,” says 82-year-old.
But this was more exception than the rule. Patel says Parsi theatre was non-existent for a few decades. “Barring a handful of actors, who stayed committed to performing on festivals, I’d say, Parsi theatre skipped an entire generation”. But he is quick to acknowledge that there is an effort in place to change this.
In an interesting collaboration, a committee that includes Patel, his daughter and actor Shernaz Patel, writer Meher Marfatia, and Vimadalal (with support from Jam-e-Jamshed and the National Centre for the Performing Arts), is set to launch Drame Bawas. It’s a community initiative to scout for talent among Parsi youth. Advertising entrepreneur Sam Balsara has volunteered to design publicity material that will be plastered across various Parsi baugs, encouraging the young to act or direct new plays.
The best of the lot will be staged at the NCPA in March next year. “Our attempt is to introduce new faces on stage,” says Patel.
May there be more
The guys behind SiLLy PoiNt are excited at having company in future. Started five years ago by four boys from St Mary’s - Meherzad Patel (26), Danesh Khambata (28), Danesh Irani (24), Sajeel Parakh (26) - and a Cathedralite, Darayus Subedar (26), the production house has staged 12 plays. They say they are bound by a love for theatre, which explains the inclusion of Sharmeela Kazerouni, the 50-year-old “mum of a school friend”. “She’s an eye surgeon,” says Meherzad Patel, “but enjoys what we do. So, she has come on board as a member.”
Then there is the love for laughter, which in fact, is true not just of Parsi theatre talent but the community, too. Parsis refer to slapstick humour as ‘koihlu’, and Irani says, “Whether we like it or not, that’s what most audiences want to see, especially on happy occasions. They wish to have a laugh before they make it for dinner and drinks.”
Irani recalls his introduction to the natak on Parsi New Year in 2005 when he acted in Maja Mastini Mokano, after a chance meeting with veteran actor Dinyar Tirandaz, at a fire temple in Charni Road. Irani, like the other 20-yearolds in the troupe, candidly admits he wasn’t gung-ho about being associated with over-the-top hackneyed humour. “And so, many decided to pursue theatre, but not necessarily Parsi nataks,” says Vimadalal.
Kerawalla, who is regarded as a one-man institution, having honed a generation of theatre talent from Fali Unwalla to Shernaz Patel, and Vimadalal, Khambata and Irani of Silly Point, says, slapstick wasn’t responsible for Parsi theatre’s decline. “Over the years, Parsis have stopped reading and writing in Gujarati. How many youngsters speak the language?”
Meherzad Patel, who since 2008 has written and directed both, English and Parsi-Gujarati plays including the popular Rusty Screws and Pakar Maari Poochri, agrees.
“Although I can read and write Gujarati, my scripts are always written in Roman-English,” he says. It started when he had to adapt Rusty Screws into Gujarati (Screwala No Dhilo Screw) in 2011.
That their scripts are able to discuss issues central to the community is reason enough for all-Bawa productions to find an audience. I’m Bawa and I Know It - a parody on LMFAO’s 2011-hit number, I’m Sexy and I Know It - is a title song that has won more hits on YouTube than there are people in the dwindling community. The play is about a homosexual Parsi couple that can’t get married because one of their parents is keen to move abroad, and give up their flat in a Parsi baug. “Only a Parsi with family can inherit a home in a Panchayat-controlled colony,” explains Meherzad Patel. “Through humour, we have raised the issue of housing, which is a key concern in the community.”
The need for original scripts means writing talent also has a chance to grow. Afshad Kelawala, a 25-year-old actor who is a regular with SiLLy PoiNt, reasons that those who’ve watched an original Adi Marzban aren’t in the mood to watch a rehash with a fresh cast.
“Besides, you can command a price (a ticket at a venue like Tata costs close to Rs 1,000 for the first eight rows) only if you are staging a new play,” he says, adding that novelty has worked in their favour.
What they see in Parsi theatre is “still no profits, but promise.”
Both, Vimadalal and Gotla, believe it’s crucial then to keep up the regular tempo of performances. Twentyyear-old Gotla has staged Pheroze Antia’s all-time hit, Behram Ni Sassu, and his own Degree Vagar No Doctor, at Bhartiya Vidya Bhavan on days other than Parsi festivals.
“It can work,” says Meherzad Patel. “‘Parsi’ sells. Besides, if we don’t talk about our culture, who will?”
GALLERIES View more photosLast Saturday on Khordad Saal, a day when the Parsi Zoroastrian community celebrated its Prophet’s birthday, the all-Bawa crew (with a few “honorary Parsis”) of SodaBottleOpenerWala was ready to see the curtains rise yet again to a packed Tata Theatre. Earlier that week, the young men and women behind SiLLy PoiNt Productions, had revelled in the energy of a full house when the play about an Irani café and the mayhem behind the making of mawa cakes had premiered.
That evening, five more Parsi-Gujarati plays - Sam Kerawalla’s Hasa Has, Dinyar Contractor’s Bhaag Bawa Bhaag, Dinyar Tirandaz’s Darling Humna Nai, Vistasp Gotla’s Savaksa Ni Sex Badlai and Cyrus Dastur’s Havey Mane Joi Lav - were performed across venues.
This was a first in many years, says Contractor, a veteran who has made generations of Parsis leave the auditorium smiling in time for their salli boti dinner on Pateti. “It is like a revival of some sort,” he smiles, glad that the myth of Parsi theatre losing its grip is being challenged - this time, by young stage talent.
The 74-year-old, whose Dinyar Contractor Productions, collaborated with Jim Vimadalal to stage Bhaag Bawa Bhaag on Navroze and the Parsi-Gujarati-Hinglish adaptation of Derek Benfield’s Touch and Go in June, says the young lot bring with them sleek production values and the ability to market theatre. “The onus to take Parsi theatre forward is now on them,” he says, highlighting a movement that theatre stalwarts believe has well begun.
It’s a serious responsibility Contractor refers to, considering the Parsis are credited with launching the modern theatre movement in India in the 1850s, influenced largely by European drama.
Back in the day
The earliest plays were Indianised versions of Shakespeare (Dil Farosh was an adaptation of The Merchant of Venice and Gulnar Firoze was based on Romeo and Juliet). The Parsi Natak Mandali (1853), considered the first Parsi theatre group, was owned by Gustadji Dalal and supported by Dadabhai Naoroji, K R Cama and Ardeshir Moos, among others. Companies owned by wealthy businessmen toured the country, collaborating with local talent to give rise to plays in Gujarati, Urdu and Hindi.
Then, the post-independence era brought with it new writing, and the birth of thespians like Pheroze Antia, Dr Ratan Marshall, Dorab Mehta and Adi Marzban. They were credited with freeing Parsi drama from tradition, introducing realism into scripts and bringing regularity to performing. “The weekly staging was possible because Adi, for instance, had a dynamic producer like Pesi Khandalawala, who encouraged artistes,” says Kerawalla. “And so, the momentum grew gradually.”
In 1966, when Marzban’s repertoire split, several key members including prolific actor couple, Burjor and Ruby Patel, branched out, starting a Parsi wing in collaboration with the Indian National Theatre. “We did some wonderful plays like Hello Inspector, directed by Arvind Thakker. It was a thriller with a smattering of humour,” recalls Patel.
In 1987, he teamed up with Marzban to launch a production house. Their first venture was an American comedy, My Daughter Rated X (Marzban decided to call it My Darling Daughter), which opened at the Bhulabhai Auditorium to a full house. “Back then, it was about sophisticated humour. Plays weren’t vulgar or offensive, a trait that Parsi nataks eventually became associated with,” he says, referring to the gradual fading of fantasy, melodrama, folk and spectacle genres to give way to the comedy-farce routine typical of plays performed on Pateti and Navroze.
Kerawalla, one of the foremost technical directors of Parsi stage, is one of the few to have continued the tradition of staging a play written or previously performed by Marzban every year. “The Tata Theatre is booked on August 18 every year. It has been a norm since the 1970s,” says 82-year-old.
But this was more exception than the rule. Patel says Parsi theatre was non-existent for a few decades. “Barring a handful of actors, who stayed committed to performing on festivals, I’d say, Parsi theatre skipped an entire generation”. But he is quick to acknowledge that there is an effort in place to change this.
In an interesting collaboration, a committee that includes Patel, his daughter and actor Shernaz Patel, writer Meher Marfatia, and Vimadalal (with support from Jam-e-Jamshed and the National Centre for the Performing Arts), is set to launch Drame Bawas. It’s a community initiative to scout for talent among Parsi youth. Advertising entrepreneur Sam Balsara has volunteered to design publicity material that will be plastered across various Parsi baugs, encouraging the young to act or direct new plays.
The best of the lot will be staged at the NCPA in March next year. “Our attempt is to introduce new faces on stage,” says Patel.
May there be more
The guys behind SiLLy PoiNt are excited at having company in future. Started five years ago by four boys from St Mary’s - Meherzad Patel (26), Danesh Khambata (28), Danesh Irani (24), Sajeel Parakh (26) - and a Cathedralite, Darayus Subedar (26), the production house has staged 12 plays. They say they are bound by a love for theatre, which explains the inclusion of Sharmeela Kazerouni, the 50-year-old “mum of a school friend”. “She’s an eye surgeon,” says Meherzad Patel, “but enjoys what we do. So, she has come on board as a member.”
Then there is the love for laughter, which in fact, is true not just of Parsi theatre talent but the community, too. Parsis refer to slapstick humour as ‘koihlu’, and Irani says, “Whether we like it or not, that’s what most audiences want to see, especially on happy occasions. They wish to have a laugh before they make it for dinner and drinks.”
Irani recalls his introduction to the natak on Parsi New Year in 2005 when he acted in Maja Mastini Mokano, after a chance meeting with veteran actor Dinyar Tirandaz, at a fire temple in Charni Road. Irani, like the other 20-yearolds in the troupe, candidly admits he wasn’t gung-ho about being associated with over-the-top hackneyed humour. “And so, many decided to pursue theatre, but not necessarily Parsi nataks,” says Vimadalal.
Kerawalla, who is regarded as a one-man institution, having honed a generation of theatre talent from Fali Unwalla to Shernaz Patel, and Vimadalal, Khambata and Irani of Silly Point, says, slapstick wasn’t responsible for Parsi theatre’s decline. “Over the years, Parsis have stopped reading and writing in Gujarati. How many youngsters speak the language?”
Meherzad Patel, who since 2008 has written and directed both, English and Parsi-Gujarati plays including the popular Rusty Screws and Pakar Maari Poochri, agrees.
“Although I can read and write Gujarati, my scripts are always written in Roman-English,” he says. It started when he had to adapt Rusty Screws into Gujarati (Screwala No Dhilo Screw) in 2011.
That their scripts are able to discuss issues central to the community is reason enough for all-Bawa productions to find an audience. I’m Bawa and I Know It - a parody on LMFAO’s 2011-hit number, I’m Sexy and I Know It - is a title song that has won more hits on YouTube than there are people in the dwindling community. The play is about a homosexual Parsi couple that can’t get married because one of their parents is keen to move abroad, and give up their flat in a Parsi baug. “Only a Parsi with family can inherit a home in a Panchayat-controlled colony,” explains Meherzad Patel. “Through humour, we have raised the issue of housing, which is a key concern in the community.”
The need for original scripts means writing talent also has a chance to grow. Afshad Kelawala, a 25-year-old actor who is a regular with SiLLy PoiNt, reasons that those who’ve watched an original Adi Marzban aren’t in the mood to watch a rehash with a fresh cast.
“Besides, you can command a price (a ticket at a venue like Tata costs close to Rs 1,000 for the first eight rows) only if you are staging a new play,” he says, adding that novelty has worked in their favour.
What they see in Parsi theatre is “still no profits, but promise.”
Both, Vimadalal and Gotla, believe it’s crucial then to keep up the regular tempo of performances. Twentyyear-old Gotla has staged Pheroze Antia’s all-time hit, Behram Ni Sassu, and his own Degree Vagar No Doctor, at Bhartiya Vidya Bhavan on days other than Parsi festivals.
“It can work,” says Meherzad Patel. “‘Parsi’ sells. Besides, if we don’t talk about our culture, who will?”
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Gujarati theatre refers to theatre performed in the Gujarati language, including its dialects. Gujarati theatre is produced mainly in Gujarat and Maharashtra, in cities like Mumbai, Ahmedabad and Baroda, surat and else where Gujarati diaspora exists, especially North America. Rustam Sohrab, performed by Parsee Natak Mandali on 29 October 1853 in Mumbai, marked the beginning of Gujarati theatre.
- 1History
History[edit]
Statue of Dalpatram who wrote first Gujarati play, Laxmi in 1850. Dalpatram Chok, Ahmedabad.
The region of Gujarat has a long tradition of folk-theatre, Bhavai, which originated in the 14th-century. Thereafter, in early 16th century, a new element was introduced by Portuguese missionaries, who performed Yesu Mashiha Ka Tamasha, based on the life of Jesus Christ, using the Tamasha folk tradition of Maharashtra, which they imbibed during their work in Goa or Maharashtra.[1]Sanskrit drama was performed in royal courts and temples of Gujarat, it did not influence the local theatre tradition for the masses. During British Raj, British officials invited foreign operas and theatre groups to entertain them, this in turn inspired local Parsis to start their own travelling theatre groups, largely performed in Gujarati.[2] The first play published in Gujarati was Laxmi Natak by Dalpatram in 1850, it was inspired by ancient Greek comedyPlutus by Aristophanes.[3]
In the year 1852, a Parsi theatre group performed a Shakespearean play in Gujarati language in the city of Surat. In 1853, Parsee Natak Mandali the first theatre group of Gujarati theatre was founded by Framjee Gustadjee Dalal, which staged the first Parsi-Gujarati play, Rustam Sohrab based on the tale of Rostam and Sohrab part of the 10th-century Persian epic Shahnameh by Ferdowsi on 29 October 1853, at the Grant Road Theatre in Mumbai, this marked the begin of Gujarati theatre. The group also performed a farceDhanji Gharak at the same venue.[1][4] In its early days, Gujarati theatre largely adopted the entertainment-led style and themes of Parsi theatre, and the plays which were presented in a mix of Gujarati with Urdu and English languages.[5] From being performed without a stage as in the case of Bhavai, raised platforms were added, then backgrounds, which gradually led to the proscenium theatre.[2] Dalpatram formed a theatre group to reform the vulgar element in the bhavai performance of the time, and also the faulty Gujarati language used by Parsi theatre across Mumbai theatre circuit.[6][7]
Gradually as the numbers of plays being written and performed in Gujarati increased things changed, and finally a theatre group to steer away from the tradition of Parsi theatre and the Bhavai and incorporated elements of Indian and Western dramaturgy was Arya Subodh Natak Mandali was formed in 1878, in Morbi by Mulji and Vaghji Oza, and their first production, Bharthari continued to be staged in Gujarat and Saurashtra region for many years. In the 1880s, as many as seven theatre groups came up, including Deshi Natak Samaj started by Dahyabhai Dholashaji, which lasted from 1889 to 1980.[1]
In late 19th-century, theatre gained strength and travelling theatre companies became popular, performing plays based on a limited repertoire of mythological and religious plays. On the other hand, commercial theatre stuck to entertainment-oriented comedies, which delayed the arrival of experimental amateur theatre movement.[8] That happened only in the 1920s and 1930s, with the rise of playwrights like C. C. Mehta (1901-1991), who wrote plays with a social context and Ranchhodlal Udayaram Dave (1837- 1923), playwright and producer. They are regarded as the father of modern Gujarati theatre.[3][7] Mehta's most important play, Aag Garhi (Fire Engine), about an ailing fireman, marked the rise of amateur theatre movement in Gujarati theatre.[9][10][11] Mehta went to write over 25 plays, numerous one act plays and radio plays; then in 1970, he himself translated his most known work, Aag Garhi as Iron Road.[12]Sarjanhar was another important play of the period, inspired by Gandhian ideologies, it dealt with untouchability and was staged by popular actors of the time Sukhlal and Harilal.[8]
Advertisement of Sneh Sarita, a 1915 play
By the 1920s, theatre had become an integral part of the festive calendar. Elaborate sets and costumes became the high point of the period, and important actors of the era were Bapulal Nayak and Jaishankar Bhojak 'Sundari' (1889-1975), who worked both in old-style as well as the emerging experimental theatre, and became a legend like Bal Gandharva in Marathi theatre. In 1937, Ranbhoomi Parishad, was formed in Ahmedabad which tried to present major dramatists of the period on common platform for the first time.[2][8][10]
K. M. Munshi wrote notable social satires[13] and foreign plays were getting translated as well,[8] including Ibsen's A Doll's House was translated into Gujarati as Dhinagli by Pranjivan Pathak in 1923, though realism in acting which the production demanded was yet to arrive.[14] However, the rise Mehta and Munshi as playwrights unfortunately fell in an era of overall decline of theatre, initiated by the birth of talkies in Indian cinema in the 1930s,[15] by the 1950s, the old school professional theatre has all but disappeared, and the itinerant Parsi theatre vanished completely.[10]
Post-independence[edit]
In the post-independence era, a new spurt in growth of Gujarati theatre was seen in the 1950s, and theatre groups started rising again in Mumbai, Ahmedabad and Baroda, including Nat Mandal and Rang Mandal, and most notably, the commercial theatre company, Rangbhumi.[9] Besides Mehta, Pragji Dosa, wrote some award-winning play in the 1950s, though playwriting in Gujarati largely remained limited to adaptations and translations.[10] In 1952, Nat Mandal, was formed in Ahmedabad, which once again aimed to provide a common platform to various far flung practitioners of Gujarati theatre.[8]
Soon the traditional Bhavai musicals were also revived by theatre directors, like Shanta Gandhi, who wrote and directed Jasma Odan (1968) based on Gujarati folk tale, while Dina Pathak (then Gandhi) produced and performed the lead role in Mena Gujari.[16] In 1957, when she performed the play in front then President, Rajendra Prasad at the Rashtrapati Bhawan in Delhi, it became the first and the only Gujarati play to have achieved the feat so far.[8]
Meanwhile, Gujarati diaspora in North America saw not just quality literature coming out from their midst, but also a vibrant Gujarati theatre.[17] In Vadodara theatre was patronized by Sayajirao Gaekwad III, and the city dubbed the cultural capital of Gujarat, and known for the Gandharva Natak Mandali. In the 1950, numerous groups were formed in the city including, Nutan Sanskar Kendra, Trimurti, Natya Vihar, Bhartiya Kala Kendra and Universal Art Forum, and the following decades saw formed for groups like Rangavali (1974), Kashunk, Vishkambhak, Aakar Theatre (1980), Intimate, Jayashree Kala Niketan and Navchetan. The city still had ten theatre groups in the 1990s, but gradually lost much of its theatre groups and audiences by the 2000s, despite theatre groups still existing in Surat and Rajkot. After mid 2000s, Gujarati theatre experienced a revival and has been growing steadily.[18][19]
However, the struggle for dominance between double meaning comedies, big stars-led commercial theatre and experimental theatre continues well into the present times, though many have tried to straddle the middle road and bridge the gap.[20][21] In 2011, National Centre for the Performing Arts (NCPA), Mumbai in an effort to promote experimental theatre hosted its first Gujarati theatre festival, Vasant - Gujarati Natya Utsav.[21]
Further reading[edit]
- Desai, S.D. (December 2002). More Happenings: Gujarati Theatre Today (1990 - 1999). Gandhinagar: Gujarat Sahitya Academy. ISBN81-7227-113-1.
- Mahesha Choksi; Dhirendra Somani, eds. (2004). Gujarati Rangabhoomi: Riddhi ane Ronak. Ahmedabad: Gujarat Vishwakosh Trust.
See also[edit]
References[edit]
- ^ abc'First Gujarati theatre group came up in 1878'. The Times of India. 27 March 2013. Retrieved 14 May 2013.
- ^ abcBhawana Somaaya (11 May 2001). 'Theatre time is here again'. The Hindu. Retrieved 15 May 2013.
- ^ abDatta, p. 1071
- ^'Gujarati Theater'. gujaratirocks. Retrieved 15 May 2013.
- ^Chambers, p.381
- ^Mukherjee, p. 322
- ^ abNatarajan, p. 111
- ^ abcdef'Reliving the past of Gujarati Rangbhoomi'. The TImes of India. 27 March 2013. Retrieved 15 May 2013.
- ^ abHochman, p. 37
- ^ abcdChambers, p.382
- ^Tevani, p. 50
- ^George, p. 179
- ^Das, p. 158
- ^Das, p. 57
- ^Das, p. 169
- ^'From Gujarat with grace'. The Tribune. 11 June 2006. Retrieved 5 April 2010.
- ^Magocsi, p. 637
- ^'Drama magic survives in Vadodara, but vibrancy a far cry'. The Times of India. 30 March 2012. Retrieved 15 May 2013.
- ^'At 150, will Gujarati theatre reinvent itself?'. The Times of India. 7 May 2004. Retrieved 15 May 2013.
- ^'Gujarat theatre dons a new face... of change'. DNA. 27 March 2013. Retrieved 14 May 2013.
- ^ abOnkar Kulkarni (17 March 2011). 'Theater versus Theater'. Indian Express. Retrieved 15 May 2013.
Bibliography[edit]
- Stanley Hochman; McGraw-Hill, inc (1984). 'Indian theatre'. McGraw-Hill Encyclopedia of World Drama. VNR AG. ISBN0070791694.
- Colin Chambers (2006). The Continuum Companion to Twentieth Century Theatre. Continuum International Publishing Group. ISBN1847140017.
- Shailesh Tevani (2003). C.C. Mehta: Makers of Indian Literature Series. Sahitya Akademi. ISBN8126016760.
- Hasamukh Baradi (2003). History of Gujarati Theatre. Translated by Vinod Meghani. National Book Trust, India. ISBN8123740328.
- Sisir Kumar Das (1995). A History of Indian Literature 1911-1956: Struggle for Freedom: Triumph and Tragedy. Sahitya Akademi. ISBN8172017987.
- Paul Robert Magocsi; Multicultural History Society of Ontario (1999). Encyclopedia of Canada's peoples - G - Reference. University of Toronto Press. ISBN0802029388.
- K. M. George (1995). 'Modern Gujarati Drama'. Modern Indian Literature: An Anthology. Plays and prose. Sahitya Akademi. ISBN8172017839.
- Amaresh Datta (ed.) (1988). Encyclopaedia of Indian Literature: devraj to jyoti, Vol. 2. Sahitya Akademi. ISBN8126011947.CS1 maint: extra text: authors list (link)
- Nalini Natarajan; Emmanuel Sampath Nelson (1996). 'Gujarati literature'. Handbook of Twentieth Century Literatures of India. Greenwood Publishing Group. ISBN0313287783.
- Sujit Mukherjee (1999). A Dictionary of Indian Literatures: Beginnings -1850. Orient Blackswan. ISBN8125014535.
External links[edit]
- Gujarati Theatre at Mumbai Theatre
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