Pdf Silence! the Court Is in Session †Vijay Tendulkar Essay

discussion section of Humanities and Social Sciences, JNTUACEP,YSR Kadapa (Dist),Andhra Pradesh, India ABSTRACT A review article against Indian juridic formation that the failure of modern level-headed theory and practice lies in its at a lower placestanding of what it is to be a human being can be un inquiryedly attri stilled to the themes of Vijay Tendulkars move Silence The tap Is In sitting. The p send barbs against existing legal system at both levels.Firstly, it can be studied as a royal court-ordered plea which demands for emancipation, equality and firing off of women and stresses the need for a social transformation of law, culture, and social patterns which release womens potential, where the legal curriculum has neglected issues of central concern of women desire rape, domesticated delirium, reproduction, unequal pay, sex determination and sexual harassment, from Ben atomic number 18s case ask Secondly, the play can be a thesis on selected-court transacti on in India as an unsatisfactory arrangement, where being structurally part of the state, the courts are expected to maintain a high degree of independence and to be ensured of a democratic policy.The play is highly relevant as it discusses the limn atrocities occurring on women throughout India including Delhi Nirbhaya cabal rape case and demands for verdict and bits the elite society to ponder on the issue seriously. Key words juridic system, Unequal treatment, Legal plea, elite-court relations, Play within the playDr. MEDIKONDA SAMBAIAHMrs. KATUMALA SANDHYAArticle original on 26/03/2013 Article revised from 28/03/2013 Article recognised on 28/05/2013The stimulus for Silence The speak to is in school term came from a real incident for the source. Tendulkar met an amateur group which was on its right smart to stage a mock-trial in Vile Parle, a suburb of Bombay. objet dart overhearing their conversation, the outline of a play began taking shape in the writers mind and resu lted in the creation of Silence The Court is in Session. The play was written for Rangayana at the instance of Arvind and Sulabh Deshpande and was first performed in bump into 1971 in Madras. When the play was first performed in 1967 for a drama rivalryby the small group, it was rejected by the judges who said it was non play. only if later it received The Kamaladevi Chatterpadhyaya award and was translated in fourteen Indian languages. The play was staged all over India in different versions. In a sense Marathi drama set in motion a place on the national map and Tendulkar was recognized at the national level. When asked in an call into question This play is a caustic satire on the social as wellhead as justice.The mental agony suffered by the young woman throughout the play is in no way less than the legal punishment. Is that all you102VIJAY TENDULKARS pipe down THE COURT IS IN SESSION MedikondaSambaiah et al interrogation Journal of incline Language and Literature (RJELA L) A mate Reviewed outside(a) Journal http//www.rjelal.com wished to convey or something more? Tendulkar said This is hardly what I had in mind. If I say anything else now, that will be an after-thought. An chivalric girl of Benares make-up could go for, besides defending herself, made acounter-attack , tearing to pieces the dos and donts of the selfish society. Had I sh witness her aggressive that would suck in been attitude, non hers? Otherwise also the playwright should only suggest exit the rest 1 to the viewers.The opening scene of the play turns into a terrific piece of satire by pitting the self-consciously independent, vehemently assertive, and vastly cheerful Benare against the utterly selfish, hypocritical and malicious amateur artists and paves the way as to how they are going to judge and reverse the natural justice. The scene depicts how an fairish middle class woman strives and struggles for preserving her womanhood and motherhood and her thirst to be accep ted by the society. As the curtain rises, Samant, a local sonny and Leela Benare, the heroine are found conversing. She springs a surprise on the rustic Samant with a sudden confidential proposal Lets leave everyone behind, I thought, and go somewhere far, far, away(p) with you Silence The Court is in 2 Session. When she makes this observation, she has professor Damle in her mind. Benare, after telling Samant that the school management is holding an doubtfulness against her just because of one bit of slander. 58 The depiction of unsecured figure of Benare explores the problems that exist among Indian women towards legal rights and her absence of awareness active legislations and their enforcement and inadequacies of legal provisions.The tragic and bottle neck like situation reminds the audience of Banavari Devi, Nina Sahni, Tasneem sheik Suhail, Delhi model Jessica Lal and Nirbhaya claims Vijay Tendulkar as a man of relevance to the contemporary society, where the practices l ike eve teasing, whistling at girls, bottom pinching and are common phenomenon among Indian youngsters, apart from big incidents like gang rapes and murders. The purpose why the dramatist has selected different persons from different backgrounds can assign some clues about the judicial circle and theirVol.1.Issue.1.2013judicial culture. In fact, all these characters are the manufactureatives of the existing personalities in judicial circle with their personal, familial, educational, ethical and professional defects. Mrs. Kashikars, Sukhatme, Balu Rokde, Gopal Ponkshe and Karnik are the various common personalitiesin judicial circle. The very fact of Mrs. Kashikars collusion in the attack on Benare demonstrates how women internalize the dominance of men over themselves as a natural phenomenon and turn against other transgressing women as the other. Had Benare been the economically power, she might have protested more actively. Her present position is proof that among amend wome n, concern for status has a positive relationship with age and employment. It has been found that the working educated women have higher concern for status than the non-working women or house wives.The commencement of the Mock-trial, which constitutes a play-within-the-play, offers Tendulkar ample scope to dissect and lay bare the dormant ills of discontent in the psyche of these urban hypocrites. Though, they gang themselves up against a hapless Benare for the cartridge holder being, they have nonhing just spite for one another. Rokde symbolizes lumped public which is enveloped in the culture of dependency and carried away by the lures of money, power and threat. Throughout the play, he is not allowed enough time to exercise his intelligent challenges to prospective jurors.Ponkshe and Karnik are the other two catalysts who have their active role in the plot against Benare. When Benare goes into the inner room to wash her face, Karnik takes Ponkshe aside and indicating the inner room into which Benare has just gone, tells him if he knows anything about her nigh her, About Miss. Benare. Rokde told me. The stylistic gimmicks used by Ponkshe and Karnik sometimes speak a lot louder than the words they actually speak. As witness their proficiency is not to argue the case but to present the issues.These two people represent the educated elite in the society, who have to demand for order of produce as yardstick before asking the instrument panel to measure the complaint. But these people lack the logical order of proof for their expert testimony. The examen procedure is so convincing that the legal professionals have been encouraging litigation more and more by giving impetus to disputes. There is a widespread belief both among litigating public and legislators, the intervention of lawyers in court103VIJAY TENDULKARS SILENCE THE COURT IS IN SESSION MedikondaSambaiah et alResearch Journal of English Language and Literature (RJELAL) A Peer Reviewed Internation al Journal http//www.rjelal.com proceedings have the built-in tendency to delay the disposal of cases. The legal profession is no longer service-oriented but profit-oriented. Sometimes lawyers on both sides join hands to make both the parties compromise redden if the clients have to suffer the loss. Majority of the lawyers harass their clients for more and more fee, chimerical bills, while not taking the required interest in the case. In all his arguments there is no ethical creation of evidence. He indulges only if in word games and forgets the joint liability of Damle. All these things show that Mr. Sukhatmes role in the play is a replica of the legal professionalism and an evidence of how there is a fall in efficiency and standard at the Bar and which is on the verge of collapse.In a perceptive outline of justice, grammatical gender and the justice in American society, Deborah Rhode observed Without a complete reordering of cultural values, women cannot hope to secure true equality, and social status. In that constructive enterprise, law can play a modest but more effective 4 role. This is more so in Indian society with a high level of illiteracy and strong traditions of gender inequalities. That is what happens in Benares case. Certainly, the play Silence The Court is in Session is a question against existing legal curriculum. There is no roadmap for the characterisation of reality in the procedure of the prosecution. There is an absence of trial heartiness in the play. The entire trial rotates around gimmick but is not based on evidence. There is no opening statement which tells to the jury the plaintiff claims in a direct and reasonable way.It must give the jury an overview of what the evidence will show and what the evidence will be without argumentative hype and individualistic exhibitionism. Missing direct or cover examination ruthlessly rules out the fundamental rules of natural justice i.e. no tree trunk can be a judge in his own cause an d no body should be condemned unheard. The foundations for the verdict let the witness be himself is not at all observed. There is no review of the evidence offered by both sides.The judge rules based on what the lawyer presents. It seems that instructions to jurors will directly affect their judgment. The doctrine of 5 locus standi, a principle that the judicial time as well as energy ought not be wastedover vatical or abstract questions, has been neglected and the truth that the trial is the time of close and the moment of truth has been gained and gathered, assessed, weighed and measured for hours together in the dock room.Vol.1.Issue.1.2013Vijay Tendulkar who is acclaimed as articulatory of violence in the modern Marathi theatre brings another holding of the cruelty in the play. He demands that the concept of cruelty is to be redefined along with the socio-economic changes in the society. The playwright proves how it could be possible that cruelty was intentionally aimed at b y the provisions of the law itself. It seems that he joins with radical criminologists in want to redefine harm in the criminological arena of victimology. Similarly, the playwright focuses on the maleness of legal proceedings, specifically the trial of sexual crimes like spontaneous abortion and pre and extra marital relationships. Simply, in trials the procedure is designed to break down pat(p) the story of the woman complainant both by subjecting it to vigorous doubt and by implicitly serializing it.The victim becomes an object of the male gaze and laboured to relieve her ordeal, which itself becomes another assault. In the play, it is very clear that the exploration of body and sexuality is done through fierce and bold debate by the testimonies of Balu Rokde and Karnik. Tendulkar poses another important question to the legal provisions of women in India. If the peasant is a legitimate one, the father is honoured with the guardianship of the pip-squeak. But if the child is outlawed the mother is the guardian, and she alone has to bear the stigma and humiliation of every sidereal day social pin-pointing as well as the responsibility of bringing up the child. The law makes no distinction between legitimate and illegitimate child when it imposes on the father an obligation to maintain 6 children.But if it is under the guardianship of the mother, the man escapes everyday disgrace by merely nonrecreational the maintenance amount, at the most To put it briefly, the law recognizes the patriarchal system of family in which father 7 supreme. Doubtlessly, it is the supreme talent of the dramatist that the violence of the play is superbly sugar-coated with the technique of play within the play. Without this technique Tendulkarcould not have made his characters directly attack Benare on the arouse of infanticide. The play is widely acclaimed for this technique. Dnyaneshwar Nadkarni pays a tribute to the play Silence The Court is in Session comes as a turning point in Tendulkars career. It has a play in rehearsal and a real-life story, and the two intertwine to produce some unusual 8 confrontations.104VIJAY TENDULKARS SILENCE THE COURT IS IN SESSION MedikondaSambaiah et alResearch Journal of English Language and Literature (RJELAL) A Peer Reviewed International Journal http//www.rjelal.com However, Tendulkar depicts Benare as a modern 9 woman who is capable of protecting herself and 9 her body in a male dominated society . He does not let Benare kill herself or feel shy about the whole episode, but makes her fight till the end. Apart from all the criticism as she faced in the play, the character of Benare remains as a lovely spark from the thunderbolt of Tendulkar, in the Modern Marathi theatre. She is a new woman pleading for freedom from social and legal norms. Even though Tendulkar 10 said that writing this play was drudgery to him, the credit of nip and tuck him to the top of the Indian theatre goes to this play Silence The Court is in Session.Vol.1.Issue.1.2013REFERENCES1. Vijay Tendulkar. Drama The Most Difficult, But the Most Powerful Medium. Interviews with Indian Writers, smart World Literature Series, B-18, p.280 2. Vijay Tendulkar. Collected Plays in Translation Silence The Court is in Session, translated by Priya Adarkar, New Delhi, Oxford University Press, 2003, p.55. 3. Quoted in System on the edge of Collapse, India Abroad , New York, February 4, 1994.4. Deborah Rhode. Justice, Gender and the Justice in Crites Lawra L, and Hepperle Winifred L (eds), Women, The Courts and Equality. 1978, p.10. 5. Roma Mukherjee. Women, Law and Free Legal Aid in India, Deep & Deep Publications Pvt. Ltd., New Delhi, 1998, p.64. 6. Sect. (2), Adoptions and The Hindu Maintenance Act, 1956. 7. Ved Kumari. Place of Women and claw in Guardianship in Lotika Sarkar and B. Sivaramayya (eds), Women and Law Contemporary Problems Vikas PublishingHouse Pvt. Ltd. New Delhi, 1994, p.242. 8. Sudhir Sonalkar. Vijay Tendulkar and the metaphor of Violence, The Illustrated Weekly of India, November 18-24, 1993, p.20. 9. Veena Noble Dass. Women Characters in the Plays of Tendulkar, New Directions in Indian Drama (ed) Sudhakar Pandey and Freya Barva, Prestige publications, New Delhi, 1994, p.11. 10. Vijay Tendulkar. Interview, The Indian Literary Review, Vol.I, p.12.cvVIJAY TENDULKARS SILENCE THE COURT IS IN SESSION MedikondaSambaiah et al