-(Her mother’s story that is my memory).
“I am a woman… that too unmarried, but one whose business is related solely to men. Such a story will indeed appeal the people… and if you write on my life… you will achieve fame overnight.”- Hira
Tamasha as a dance form was considered disreputable for a long time. It was seductive, and was only to be enjoyed by men. However, something changed at the turn of the century. Tamasha found an honorable place on cultural stages. Various cultural festivals started hosting respectable tamasha performances applauded by men as well as women.
That’s about the dance form, but what about the women who performed the provocative dance? Did they find a respectable place in society? Did their lives change for the better? Tichya Aaichi Goshta Arthat Mazya Athavanicha Pahad, a one-person riveting play performed by renowned theatre personality, Sushma Deshpande answers all these questions.
It presents the life sketch of a tamasha dancer, Hira through a dialogue between Hira and her journalist daughter Ratna, and Hira’s reflection on her life, society and her place in it. Hira has been presented a prestigious award by the government of India her excellence in the “art form”. This has changed Ratna’s perception of her mother but, a very little has as far as Hira’s place in the society is concerned.
Gyaan Adab hosted a powerful and riveting performace of Tichya Aaichi Goshta, where Sushma Deshpande held the audience captivated for an hour and a half. This performance marked the beginning of a two week long series of programs dedicated to Women’s Day. Hira, the character brought to life by Deshpande talked about her relationship with her mother who was also a Tamasha dancer and presented reflections on her father, some of her mother’s clients, her childhood, and narrated the story of how she became a tamasha dancer. Hira then spoke about her clients, her colleagues, the man in her life and the how the relationship developed. She put forth the various shades in her numerous relationships. Deshpande interjected a few lavani performances in between, which added an interesting element to the monologue. These were supported by Tejasvini Ingale lending her melodious voice to the sensuous lavanis. The development of the play was based on the relationship and Hira’s ongoing conflict with Ratna.
As the first Marathi performance at Gyaan Adab centre, this act set a pretty high standard.
