R. Madhavan - Wikipedia
Vijay Tendulkar is a well-known playwright in contemporary Indian theatre. He reminds to uproot tensions in the minds of Jadhav, a journalist and Sarita, his wife. Kakasaheb, states: “I didn't hold this Press Conference for my own benefit . Saritha S. Nair was jailed in June last year for perpetrating the solar scam In her first exclusive interview, Saritha tells india today Special . Q. You are putting several politicians under severe stress by holding back on In 4 years, banks fined you more than what Vijay Mallya and Nirav Modi owe them. Vijay Tendulkar's Kamala demands and deserves a special applause from every respect and . sarita's plans for the 'Press Conference' KaKasaheb is, at once, startled Silence! which help the readers get at the root of the tensions in the.
Appearing as an unhappy groom trying to halt his wedding, the film won positive acclaim and became a commercial success, with Madhavan establishing himself as a bankable actor in South India.
Despite featuring amongst an ensemble cast and being highly anticipated prior to release, the film failed at the box-office, with critics citing that Madhavan looked "rather bored" with the proceedings. In the film, he was shown as the role of the father of an adopted child, who wishes to return to her native homeland amidst the Sri Lankan civil war. The film received widespread critical acclaim and went on to win six National Awards as well as over ten awards at various International Film Festivals.
The good performance of the film internationally also helped him develop an overseas market for his films. Madhavan revealed his elation at working with an experienced actor like Kamal Haasan, while noting that a human drama film like Anbe Sivam was important for his career as an actor as it came after a successful masala film in Run. Post-release, the film has garnered belated critical acclaim from critics and television audiences and is considered as one of the "cult classics" of Tamil cinema.
Inthe actor also appeared in Vikraman 's family drama Priyamana Thozhi as a budding cricketerSaran 's romantic comedy Jay Jay and made a guest appearance in Priyadarshan 's Lesa Lesa as a jailed teacher. The three films made average returns at the box office, though Madhavan's performances were appreciated by critics. Ravikumar 's comedy Aethiree before being selected to feature in his fourth Mani Ratnam production, Aaytha Ezhuthuwhich featured him in an ensemble cast including SuriyaSiddharthMeera JasmineEsha Deol and Trisha.
Madhavan portrayed the character of Inba Sekhar, a hitman living in the slums of Chennaiwhose path crosses with the characters portrayed by Suriya and Siddharth. His role also featured him in a struggling marriage, where his wife desperately tries to claw him away from his profession. Madhavan bulked up and sported a shaven look for the first time in his career to resemble the character of a ruffian and shot for the film through the sync sound technique.
Portraying an orphaned youth with suicidal tendencies being treated by a Malayali psychiatrist in the USA, the film and his portrayal opened to mixed reviews. The film received praise for the lead pair's performances with Madhavan being praised as "top class", while it also became the first Tamil film to be dubbed into Zulu. Critics described his performance as "a master stroke", though the film fared averagely at the box office due to the release of other big budget films during the period.
Featuring in an ensemble cast led by Aamir KhanMadhavan essayed the guest role of flight lieutenantwhose death triggers a revolutionary movement against corruption. His role of Shyam Saxena was inspired from the life of real-life journalist S.
Gurumurthywho was a challenger to the business tycoon, Dhirubhai Ambaniwhose life drew allusions with Bachchan's role. After setting up a production studio, Leukos Films, he helped promote the film in international film festivals before the theatrical release in December The film, which featured him alongside Soha Ali KhanIrrfan Khan and Kay Kay Menon became critically acclaimed with Madhavan's portrayal of a man with a post-traumatic stress disorder being appreciated by reviewers.
The film, which became a commercial and critical success, prompted a reviewer from the Times of India to suggest "he carried the film on his shoulders" while he was also nominated in the Best Actor category at the Vijay Awards. Madhavan then portrayed one of three leading roles in Rajkumar Hirani 's coming of age comedy - drama film3 Idiotsalongside Aamir Khan and Sharman Joshi.
Upon release, the film received positive reviews and went on to become the highest-grossing Indian film of all time, before being overtaken in Kidney diseases are classified as silent conditions because they manifest themselves as a variety of nonspecific complaints that are often overlooked. Therefore, there are a large number of people who are unaware of their illness, allowing their kidneys to further deteriorate until they finally get treatment. However, while the occurrence of kidney disease is soaring, only the wealthy can really afford safe, quality treatment.
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Our courses are also complemented by spoken English and professionalism classes, basic computer skills education, and cardiac life support courses. This international certification also gives them the opportunity to work both in India and abroad given their education and premium status. There are several companies already in the dialysis providers space. But the middle to low income market is being underserved, even as it is expanding faster than the others.
Technologists with BONENT certificates from reputable companies are in high demand as it is a given that they are nephrology professionals with an extraordinary amount of experience and education in the field.
It can best be understood as the developing self- consciousness of women as an oppressed section struggling for liberation. This is a necessary first step, if one wants to stand outside the layers of imposed systems of thought and to comprehend the nature of stereotypes and to stand outside them. The relationship between women and social structures is far more intricate and more deeply embedded in society than any other.
Education, marriage, family, morality, linguistics constructs, custom, law: According to Jasbir Jain, Feminist theory has several different theoretical approaches and positions but whether it is social-economic, psychological or literary, its two primary concerns are power and freedom. Both have been traditionally denied to women, placing them on the margins. It is these margins which are being redefined or shifted through a shift to post-feminism in literary aesthetics Indigenous roots of Feminisms She considers the first stage of feminist struggle as mainly as the right to equality and political rights and the second with emphasis on alternative perspectives and epistemological structures.
Both of these failed to destroy the binary oppositions. The third stage, the post-feminist one is at one level an attempt to demolish these binary oppositions and at another an effort to redefine power and freedom Indigenous roots of Feminism There has been a constant need to negotiate cultural myths which are a part of the socialisation of the girl child and to retell and reinterpret them Indigenous Roots of Feminism The way in which Western feminism tends to see itself as feminism per se, and not to give due regard to indigenous movements and their different forms of feminist intervention, has helped create discursive spaces in which those hostile to feminist movements in Third World contexts have characterised all feminism as by definition Western and therefore as, for example, unpatriotic, un-Islamic, un-Indian and so on.
Writing of Indian feminism, Uma Narayan shows how antifeminist forces in India have used the notion of Westernisation selectively to attack those aspects of modern Indian life and politics with which they disagree. Far from being an imitation of Western feminism, Narayan argues, Third World feminism is very much a response to local issues in Third World countries. Among the many achievements of the movement, the most significant were the constitutional guarantees of equal rights for women and universal adult suffrage in independent India.
However, these guarantees did little to bring about social and material change in the lives of most Indian women. All forms of feminist criticism are by definition political, since they are predicated on the recognition of inequalities and the need to transform the structures that produce them.
The agenda that has emerged for a non Eurocentric postcolonial feminist literary and cultural criticism can be said to privilege certain key assumptions. These include a constant recognition of the material relations of inequality that have resulted from colonialism in all its patriarchal, racist and class- specific practices. They include a continuous process of making visible and contesting the racist and ethnocentric meanings that have often become part of the commonsense knowledge of Western societies.
They involve a commitment to location and historical, social and cultural specificity. They require the bringing together of gender, race and class. Gender reform feminism laid the theoretical groundwork for second-wave feminism.
Their politics are practical and perhaps the best way to redress gender inequality at the present time. The fight for equal legal status and political representation for women and men, and for autonomy for women in making procreative, sexual, and marital choices still has not been won in most countries of the world. Gender segregation in the workplace and lower pay for women's work is pervasive in capitalist and socialist economies.
The global economy, with its exploitation of poor women and men as cheap labour, and economic restructuring in industrializing and post-industrial economies, with its reduction in social-service benefits to mothers and children, has worsened the material conditions of life for many people throughout the world. Thus, economic problems are another arena for feminist gender politics.
While the politics of gender reform feminisms spills over into a politics for every disadvantaged person, the battles of gender resistant feminisms are for women alone.
Fighting to protect women's bodies against unwanted pregnancies and sterilizations, abortions of female foetuses, genital mutilation, rape, beatings, and murder has been an enormous and never-ending struggle.
And the sexual integrity of women and girls needs protection from forced prostitution, exploitative sex work in pornographic productions and nightclubs, and loveless marriages. Both lesbians and gay men need to be able to live free of discrimination and violent attacks, but many lesbian women also want their own physical space and their own cultural communities, where they where they live free of sexual harassment and men's domination, nourish their loves and friendships, and produce books, music, art, and drama that reflect their different ways of thinking and feeling.
Multi-ethnic feminism is part of a powerful political movement to redress past and present legal and social discrimination of disadvantaged groups in so many societies, and to preserve their cultures. Men's feminism follows in the footsteps of working-class social research and politics, but expands their political arena to include gay men. Their condemnation of the price paid for the rewards of professional sports and the physical and sexual violence they foster are their particular political agenda.
In conjunction with the radical feminist fight against rape and pornography, men's feminism has gone directly to men in college workshops, seminars, and conferences to make them aware of how their behaviour can be so harmful to women.
Social construction and postmodern feminisms have only begun to translate their theoretical and linguistic destabilization of the gender order into politics or praxis. Gender revolution feminists have said that there are multiple voices in this world; now, they have to figure out how to ensure that every voice can be heard in the production of knowledge and culture and in the power systems of their societies. In recent years a number of feminist critics have used poststructuralist positions and techniques to challenge the category of "woman" and other founding concepts of feminism itself.
They point out the existence of differences and adversarial strands within the supposedly monolithic history of patriarchal discourse, and emphasize the inherent linguistic instability in the basic conceptions of "woman" or "the feminine," as well as the diversities within these supposedly universal and uniform female identities that result from differences in race, class, nationality, and historical situation. Judith Butler, in two influential books, has opposed the notion that the feminist movement requires the concept of a feminine identity; that is, that there exist essential factors that define a woman as a woman.
Instead, she elaborates the view that the fundamental features which define gender are social and cultural productions that produce the illusory effect of being natural. Butler proposes instead that we consider gender as a "performative"—that to be masculine or feminine or homosexual is not something that one is, but a pre-established condition that one repeatedly enacts. Feminist theoretical and critical writings, although recent in origin, expand yearly in volume and range.
There exist a number of specialized feminist journals and publishing houses, almost all colleges and universities now have programs in women's studies and courses in women's literature and feminist criticism, and ever- increasing place is given to writings by and about women in anthologies, periodicals, and conferences.
Of the many critical and theoretical innovations of the past several decades the concern with the effects of sexual differences in the writing, interpretation, analysis, and assessment of literature seems destined to have the most prominent and enduring effects on literary history, criticism, and academic instruction, when conducted by men as well as by women.
In short Feminism is the result of the socio-economic revolution in the world. A strong identity is clarity in value preferences and commitments. It is an unbelievable truth that even rituals were not complete without the presence of women.
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And that creates a troublesome social dilemma in the well constructed women identity as portrayed by Vijay Tendulkar in his plays Silence! The Court is in Session and Kamala. Feminism in India is a set of movements aimed at defining, establishing, and defending equal political, economic, and social rights and opportunities for Indian women.
It is the pursuit of women's rights within the society. Like their feminist counterparts all over the world, feminists in India seek gender equality: Indian feminists also have fought against culture-specific issues within India's patriarchal society, such as inheritance laws and the practice of widow immolation known as Sati and even against the social tentacle like that of the Devadasi system.
Olympic Gold Quest gives Rs 10 lakh to aggrieved Sarita Devi - The Economic Times
And for this recognition it also forces a rethinking on the idea of masculinity Indigenous Roots of Feminism 5. Theatre has always been a medium of expression or reflection of life. Starting its journey as primarily a musical form in the realms of folk narrative and traditional performance, Indian theatre in general and Marathi theatre in particular developed the concept of realism and naturalism from the onset of the colonial period.
This mode of realism carried not only the voices from the neglected margins of society. This enabled playwrights, who are socially conscious authors, to understand their circumstances in ordered to effect change. Vijay Tendulkar, one of India's most influential playwrights who gave a new content and form to the Indian theatre, by means of writing about contemporary issues and themes in a novel way.
The two plays under scrutiny, that is, Kamala and Silence! The Court is in Session belongs to the post-independence phase of feminist movement. Kamala is a naturalistic drama, inspired by a real life incident. Jaisingh Jadhav is a career oriented and high paced journalist who is singularly focussed on his promotion and does not care about humanity or any of its values. He tries to sensationalize his news to gain more recognition. Sarita and Kamala are two characters that are used as pawns and objects for his enhancement in status and comfort.
Sarita, his wife is an educated woman who looks after the household. The break in this unquestioned servility comes when Jaisingh brings Kamala home after buying her from flesh market. The ignorant innocent questions that Kamala asks Sarita awaken her to her present status at home.
She has to be there for him sexually, as a domestic servant and as a well-educated modern wife to show off in society and she has no say in any of it.
Jaisingh is known as a modern liberal husband who lets his wife drink alcohol, but on a deeper level, Sarita is just an object of pleasure and a servant to him. She is not an equal.
Perhaps men are victims of an unnecessarily anxiety at the loss of space, at being deprived of their ability to deprive or suppress. They suffer from the fear of impotence that they feel at the impending loss of their power of suppressing or even oppressing women Singh, Avadhesh Simon de Beauvoir says that the men of today show a certain duplicity of attitude which is painfully lacerating to women; they are willing on the whole too accept women as a fellow being, an equal but they require her to remain the inessential.
Along with the double standards, he is a hypocrite. On the surface he wants to show that he is doing a good thing for Kamala and others like her, but intrinsically his private and selfish motives are making him to move on with all the risk, though not well hidden. When it is time to take Kamala to the Press Conference, he does not even allow her to wash herself, let alone wear decent clothes. He takes her in tatters, in order to produce a dramatic effect. And the way some men behave at the conference is utterly shameful.
Later when he gets into trouble with the police, he does not hesitate in sending Kamala away from his home, not caring what will happen to her if police gets to her. Tendulkar shows the inhumanness of Jaisingh through Sarita and Kakasaheb.
These instances show how morally bankrupt Jaisingh is and how he has no respect for a woman. The conversation among the actors and actresses gave him the much needed impetus to write the play. Being different from others she is easily isolated and made the victim of a cruel game cunningly planned by her co—actors.
Professor Damle is significantly absent in the trial room, denoting his total withdrawal of responsibility, either social or moral, for the whole situation into which he had pushed Miss Benare. During the trial he is summoned merely as a witness while Benare remains the prime accused as the unwed mother of his illegitimate child. Interestingly, the accusation brought against her, at the beginning of the trialthat of infanticide, turns into the verdict at the conclusion.
In the Mock-Law-Court, all the members of the troupe played different roles Mr Kashikar, the mock judge, Mr Sukhatme, the lawyer of defence and lawyer of prosecution whereas Rokde, Karnik, Ponkshe, Samant, Rawte assumed the role of witnesses. In the name of game Benare has been tortured, humiliated, exposed and victimized by labelling charges upon charges on her. Mr Kashikar, the judge accused her of infanticide to sully her character. Are you guilty or not guilty of the aforementioned crime?
Janani janmabhumishcha svargadapi gariyasi which means mother and motherland both are even higher than the heaven. Silence 30 But it is ironical and hypocritical on the part of male dominated society in general and Mr Kashikar in particular, because, on the one hand he advocates supreme position of women as mothers but on the other hand he drags a mother into the witness box and punishes her with his most heinous judgement. No memento of your sin should remain for future generations. Therefore the court hereby sentences that you shall leave.
She has been silenced and denied verbal right to voice her justification. Whenever Benare speaks, the judge orders her to keep silence by banging the grave. Why, I was hardly fourteen! I insisted on marriage. So, I could live my beautiful lovely dreams openly. Damle who gratified his carnal desire and impregnated Benare in extra marital affair denies responsibility and dejected her as if women are mere commodities that can be used and thrown.
And my intellectual god took the offering and went his way. He was not a god. He was a man. For him everything was the body! One cannot miss the irony embedded in the fact that in such a farcical judgment the patriarchal society is exposing its own criminal tendency of committing infanticide which is a real and burning issue in India, and something which it was accusing Benare with when assessing her attempts to commit suicide.
The title of the play Silence! The Court is in Session is a common expression by the judges in law courts to bring order in the midst of disorder, establishing the absolute power of the judge. The judge is the final authority to decide the case and decree his verdict. In the play the dramatist depicts corruption that creeps into the legal system where even the judge becomes an oppressor lacking sense of natural justice and compassion.
It also proves male domination in a patriarchal social system. The legal system is not effective enough to protect such victims from social menace. The cast is present surrounding Benare like vultures in course of the play to eat into her vitals. Her only mistake is getting impregnated by Prof. Damle, who remains off stage throughout the sequences.
Benare is relentlessly attacked from all sides, hunted down like a vulnerable prey to cheap, hypocritical middle-class societal norms.T Rajendar fights with the PRESS & Angry Speech - Latest TR Protest - Vishal, GST
The hunting down is like that by a pack of hyenas or jackals, a degrading scene, in which Benare stands out, though defeated, under a kind of elegiac, tragic, lonesome singular light. She had been both physically and psychologically devastated by the trial that slowly but steadily develops sinister and menacing qualities. She is being attacked by middle class masked hypocrites who have been failures in their respective fields.
Kashikar is a bad judge, Sukhatme a bad lawyer, Karnik an unsuccessful theatre person and so on. But ironically, Benare the school teacher had been successful with her students.
Yet the patriarchal society is ready to punish her on moral grounds or based on her private life. The urban middle class society which Tendulkar presents in this play enforces law to subjugate women by maintaining a hypocritical moral code.
Though Benare is shown as chirpy and talkative lady, when the mock-trial begins, silence descends on her. The character of Benare longs to displace and uproot the patriarchal hierarchy.