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गिधाडे [Gidhade]
गिधाडे
इथे भासतो एक थंडपणा, निर्विकारपणा; दिसतात फक्त मांसाचे लचके, हाडांचे तुकडे; रक्त किंवा घाम नाही…
'गिधाडे' हे या प्रवृत्तीचं नाटक आहे. नातं आणि नैतिकतेवरील जहाल प्रतिक्रिया आहे. प्रकृती-विकृतीच्या संघर्षातून जीवनावर केलेलं हे काव्यात्म भाष्य आहे. भोगवादी जगण्याच्या विचित्र नशेने धुंद झालेल्यांचे मानसिक पातळीवरील विश्लेषण आहे.
इथे भासतो एक थंडपणा, निर्विकारपणा; दिसतात फक्त मांसाचे लचके, हाडांचे तुकडे; रक्त किंवा घाम नाही…
'गिधाडे' हे या प्रवृत्तीचं नाटक आहे. नातं आणि नैतिकतेवरील जहाल प्रतिक्रिया आहे. प्रकृती-विकृतीच्या संघर्षातून जीवनावर केलेलं हे काव्यात्म भाष्य आहे. भोगवादी जगण्याच्या विचित्र नशेने धुंद झालेल्यांचे मानसिक पातळीवरील विश्लेषण आहे.
108 pages, Kindle Edition
First published January 1, 1971
13 people are currently reading
123 people want to read
About the author
Vijay Tendulkar
100 books69 followersVijay Tendulkar (Marathi: विजय तेंडुलकर) (7 January 1928 – 19 May 2008) was a leading Indian playwright, movie and television writer, literary essayist, political journalist, and social commentator primarily in Marāthi. He is best known for his plays, Shantata! Court Chalu Aahe (1967), Ghāshirām Kotwāl (1972), and Sakhārām Binder (1972).Many of Tendulkar’s plays derived inspiration from real-life incidents or social upheavals, which provides clear light on harsh realities. He provided his guidance to students studying “Playwright writing” in US universities. For over five decades, Tendulkar had been a highly influential dramatist and theater personality in Mahārāshtra.
Early life
Vijay Dhondopant Tendulkar was born on 7 January 1928 in a Bhalavalikar Saraswat brahmin family in Kolhapur, Maharashtra, where his father held a clerical job and ran a small publishing business. The literary environment at home prompted young Vijay to take up writing. He wrote his first story at age six.
He grew up watching western plays, and felt inspired to write plays himself. At age eleven, he wrote, directed, and acted in his first play.
At age 14, he participated in the 1942 Indian freedom movement , leaving his studies. The latter alienated him from his family and friends. Writing then became his outlet, though most of his early writings were of a personal nature, and not intended for publication.
Early career
Tendulkar began his career writing for newspapers. He had already written a play, “Āmchyāvar Kon Prem Karnār” (Who will Love us?), and he wrote the play, “Gruhastha” (The Householder), in his early 20s. The latter did not receive much recognition from the audience, and he vowed never to write again . Breaking the vow, in 1956 he wrote “‘Shrimant”, which established him as a good writer. “Shrimant” jolted the conservative audience of the times with its radical storyline, wherein an unmarried young woman decides to keep her unborn child while her rich father tries to “buy” her a husband in an attempt to save his social prestige.
Tendulkar’s early struggle for survival and living for some time in tenements (“chāwls”) in Mumbai provided him first-hand experience about the life of urban lower middle class. He thus brought new authenticity to their depiction in Marathi theater. Tendulkar’s writings rapidly changed the storyline of modern Marathi theater in the 1950s and the 60s, with experimental presentations by theater groups like “Rangāyan”. Actors in these theater groups like Shreerām Lāgoo, Mohan Agāshe, and Sulabhā Deshpānde brought new authenticity and power to Tendulkar’s stories while introducing new sensibilities in Marathi theater.
Tendulkar wrote the play, “Gidhāde” (The Vultures) in 1961, but it was not produced until 1970. The play was set in a morally collapsed family structure and explored the theme of violence. In his following creations, Tendulkar explored violence in its various forms: domestic, sexual, communal, and political. Thus, “Gidhāde” proved to be a turning point in Tendulkar’s writings with regard to establishment of his own unique writing style.
Based on a 1956 short story, “Die Panne” (“Traps”) by Friedrich Dürrenmatt, Tendulkar wrote the play, “Shāntatā! Court Chālu Aahe” (“Silence! The Court Is In Session”). It was presented on the stage for the first time in 1967, and proved as one of his finest works. Satyadev Dubey presented it in movie form in 1971 with Tendulkar’s collaboration as the screenplay writer.
1970s and ’80s
In his 1972 play, Sakhārām Binder (Sakhārām, the Binder), Tendulkar dealt with the topic of domination of the male gender over the female gender. The main character, Sakhārām, is a man devoid of ethics and morality, and professes not to believe in “outdated” social codes and conventional marriage. He accordingly uses the society for his own pleasure. He regularly gives “shelter” to abandoned wives, and uses them f
Early life
Vijay Dhondopant Tendulkar was born on 7 January 1928 in a Bhalavalikar Saraswat brahmin family in Kolhapur, Maharashtra, where his father held a clerical job and ran a small publishing business. The literary environment at home prompted young Vijay to take up writing. He wrote his first story at age six.
He grew up watching western plays, and felt inspired to write plays himself. At age eleven, he wrote, directed, and acted in his first play.
At age 14, he participated in the 1942 Indian freedom movement , leaving his studies. The latter alienated him from his family and friends. Writing then became his outlet, though most of his early writings were of a personal nature, and not intended for publication.
Early career
Tendulkar began his career writing for newspapers. He had already written a play, “Āmchyāvar Kon Prem Karnār” (Who will Love us?), and he wrote the play, “Gruhastha” (The Householder), in his early 20s. The latter did not receive much recognition from the audience, and he vowed never to write again . Breaking the vow, in 1956 he wrote “‘Shrimant”, which established him as a good writer. “Shrimant” jolted the conservative audience of the times with its radical storyline, wherein an unmarried young woman decides to keep her unborn child while her rich father tries to “buy” her a husband in an attempt to save his social prestige.
Tendulkar’s early struggle for survival and living for some time in tenements (“chāwls”) in Mumbai provided him first-hand experience about the life of urban lower middle class. He thus brought new authenticity to their depiction in Marathi theater. Tendulkar’s writings rapidly changed the storyline of modern Marathi theater in the 1950s and the 60s, with experimental presentations by theater groups like “Rangāyan”. Actors in these theater groups like Shreerām Lāgoo, Mohan Agāshe, and Sulabhā Deshpānde brought new authenticity and power to Tendulkar’s stories while introducing new sensibilities in Marathi theater.
Tendulkar wrote the play, “Gidhāde” (The Vultures) in 1961, but it was not produced until 1970. The play was set in a morally collapsed family structure and explored the theme of violence. In his following creations, Tendulkar explored violence in its various forms: domestic, sexual, communal, and political. Thus, “Gidhāde” proved to be a turning point in Tendulkar’s writings with regard to establishment of his own unique writing style.
Based on a 1956 short story, “Die Panne” (“Traps”) by Friedrich Dürrenmatt, Tendulkar wrote the play, “Shāntatā! Court Chālu Aahe” (“Silence! The Court Is In Session”). It was presented on the stage for the first time in 1967, and proved as one of his finest works. Satyadev Dubey presented it in movie form in 1971 with Tendulkar’s collaboration as the screenplay writer.
1970s and ’80s
In his 1972 play, Sakhārām Binder (Sakhārām, the Binder), Tendulkar dealt with the topic of domination of the male gender over the female gender. The main character, Sakhārām, is a man devoid of ethics and morality, and professes not to believe in “outdated” social codes and conventional marriage. He accordingly uses the society for his own pleasure. He regularly gives “shelter” to abandoned wives, and uses them f
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Displaying 1 - 6 of 6 reviews
August 9, 2025
The version of ‘Gidhade’ published in 1971 was solely edited for the purpose of its commercial dramatisation- the one which is available on Amazon kindle. It was edited to fit the time frame of a drama and to satisfy the Censorship requirements.
I still wonder what Tendulkar must have written originally!
I still wonder what Tendulkar must have written originally!
June 15, 2022
Horrible reality, a microcosm of many such human relationships all around.
October 18, 2021
intriguing ..
the end didn’t make sense to me … it leaves the story half complete - no salvation for the soul or the reader …
the end didn’t make sense to me … it leaves the story half complete - no salvation for the soul or the reader …
April 20, 2021
५ स्टार देणे हे देखील कमीच वाटते आहे मला. भन्नाट नाटक. मानवी स्वभावाचे दर्शन, मनुष्य प्राणी हा किती हिंसक होऊ शकतो ह्याचे उत्तम उदाहरण.
August 8, 2024
This play is principally rooted in the economic and moral deterioration of a family. It describes a very lifelike narrative of sex and fierceness, of voracity and egotism. The core meaning of the play is money – wealth which makes some of the characters vulture-like – hence the name ‘Gidhare’. The debauchery and deterioration of human individuals belonging to a middle-class milieu is exposed through the interactions among the members of a family. Ramakant and Umakant, the two brothers, are very cruel by nature. Their insatiability and sadism, their father's perverted nature, their sister Manik's unpolished sensuousness – everything contributes to the realistic representation of those viler phases of human character that one would like to shut one's eyes to. The physical assaul of the father by his own children, the two brothers' forceful abortion of their sister's child, the reciprocated abhorrence among the members of the family, underscore the necessary malevolence, inherent in human character. Thus, the play is a coldblooded dissection of human nature. Tendulkar reveals the human character’s innate propensities to gluttony, sex, passion and egocentrism. The plot and the very effective employment of dialogues exhibit the meanness concealed in man -- a meanness, embedded in the garb of well-cultured, highly-placed or modest personalities. Tendulkar displays the divergent yearnings secreted in the inner mind of a person. At times the descriptions used by the playwright becomes too unpolished and intense for our taste. Tendulkar has been criticized as well, for writing gruesome, horrendous and vile melodramatic actions. But so did Tennessee Williams. We do not mind really. Art imitates life, afterall. A must-read this one.
April 26, 2018
Although the narrative leaves you with a lot of anger and irritation, his expertise at doing so is commendable. He builds strong characters and considers no softness in portraying the reality of the Indian society.
Displaying 1 - 6 of 6 reviews