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Sunday, November 15, 2020

Vali samati patrak

 Vali samati patrak

The creation of children's plays is not happening here even today and children's plays are just a lot of arguments about children's theater.  Gijubhai has kept the children in front of him, so along with the donkey, the lines of rhyme are also visible.  Savaj brings care, monkey brother comes, Savaj brings care.  Gijubhai's children's plays   Dr.  For Ravindra Thakor, I will not sow with a lion, I will not sow with a tiger, I will sow with a cold tabukla! 




 Dhab dhab dhaniya hajame, dhaniya hajame, dhaniya hajame, dhab dhab dhaniya hajame.  Undoubtedly, we can say that these plays have been given to us instinctively.  From the point of view of drama, perhaps the whole theatricality seems to be lacking in these plays, that of the unity of drama.  The concept of integrity seems low.  These plays seem to be distributed in many countries.  Coke blames the subtlety of the play's action, but we fall short of remembering that from children's real experience, these are children's plays written by 'Complete Involvement with Children' and not just in children's plays today when children's plays have only dialogues in name.  

Gijubhai's children's plays have a theatrical element and the end of each play makes us experience the play through its twists and turns and puts the children in a world of ecstasy.  Indirectly something goes down in their hearts.  Thus, Gijubhai's children's plays remain plays in a sense.  The good news is that even today when we have a shortage of children's plays, Gijubhai has developed children's imagination, entertained them, sent them possibilities of performances and indirectly, we have given a few children's plays that instill culture in them.  


The dialogues of these plays, its language is what draws our attention.  Language has simplicity, intuition and eloquence.  The accent of colloquialism has arisen from the language of dialogues.  A unique accent is revealed.  Children's own accent.  In plays like 'Dala Tarwadi', 'Supadakno Raja', 'Tido Joshi', 'Sasabhai Sankaliya', 'Tadhu Tabulyu' we see children's own simple, instinctive, prasadic language - dialogues.  And yet it is the language of "drama".  Not the monotony of dialogues but Wadi Re Bai Wadi!  What do you call Dala Tarwadi?  Experiments such as the accuracy of Gijubhai's dialogues uplift him as a child psychologist.  Variety abounds in these plays. 


 The creation of plays is a diversity.  First of all we get to see the diversity of subjects.  In Dalbhanjanji, the fox, the fox is the cowardice of the lion, the human delusion is seen in the frozen tabukalu,  , ‘Sasabhai Sankaliya’ teaches the doctrinal consequence of imitating others.  ‘Tashukbhai draws wonderful interest, nurtures the imagination and brings about a dramatic end.  "Tida Joshi" also talks about the opportunity a human being gets in life through ritual and depicts the limits of a 'supadako raja' or 'dala tarwadi' man and therefore the punishment he gets.  He has given indirect instruction to the children through simple language, through drama. 


 Character diversity is also here.  The fauna is also beautifully used as a character.  Like Panchatantra or Hitopadesh, they have used animal characters like lion, lioness, fox, rabbit, monkey, giving children a chance to enjoy their curiosity, excitement and amazement by making them interested in drama.  - Characters with different temperaments like Wori - also here


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