Old-Stone Mansion ( Wada Chirebandi ) by Mahesh Elkunchwar

Old-Stone Mansion ( Wada Chirebandi )

Mahesh Elkunchwar [born 9 October 1939] is an Indian playwright with more than 20 plays to his name, in addition to his theoretical writings, critical works, and his active work in India's Paeallel Cinema as actor and screenwriter. Today, along with Vijay tendulkarhe is one of the most influential and progressive playwrights not just in modern ,Marathi theater

but also larger modern Indian theater.

Old-Stone Mansion (1989) (Wada Chirebandi) is a family centered realistic play. The prominent women characters are Aai, Vahini, Prabha, Dadi and Ranju. 

These women characters show family attachment and community bonds prevailing in the Maharashtrian society. They display feminine sensibilities in their behavior. The objective of this research paper is to analyze the female characters in terms of their actions and behaviour.

The play, Wada Chirebandi, begins on the fifth day after the demise of Tatyaji (Venkatesh) the patriarch of the Deshpande family of Dharangaon.

Dharangaon is a small hamlet in the interiors of Maharashtra where the influences of commercial Bombay has slowly spread its tentacles. The play begins with Aai, the widow of Tatyaji, awaiting the arrival of her second son Sudhir and his wife Anjali from Bombay, to attend the 13th day rites.

In the meantime, the eldest son Bhaskar and his wife, Vahini, has taken over the reins of the family by taking charge of the two objects of command, the keys and the ancestral jewellery box. Been a traditional Brahmin family, Bhaskar intends to conduct the rituals in full traditional fanfare even when the family has fallen in difficult lines.

Bhaskar expects Sudhir to bear the expenses, as his image of someone from a big city is that of been financially well off, while Sudhir claims that he is just about making ends meet in his two room apartment in the outskirts of Bombay. Thus the first crack in the already crumbling household begin. Ranju & Parag, the fourth generation, feels the need of escaping from their Wada as they feel stifled in a time stuck place. The obvious destination is Bombay.

The split in the family widens when each start claiming their own. Ranju, with cinema in her head feels her private tutor can be a vehicle to reach Bombay. Parag, who has moved in wrong company, wants to change his ways in a faraway land. Prabha the sister of Bhaskar and Sudhir wants to further her higher studies as the fears she would end like other ladies in the Deshpande household.All this leads to further complicacies which highlights the plight of such traditional families which have stuck in time.

Mahesh Elkunchwar [born 9 October 1939] is an Indian playwright with more than 20 plays to his name, in addition to his theoretical writings, critical works, and his active work in India's Paeallel Cinema as actor and screenwriter. Today, along with Vijay tendulkarhe is one of the most influential and progressive playwrights not just in modern ,Marathi theater

but also larger modern Indian theater.

Old-Stone Mansion (1989) (Wada Chirebandi) is a family centered realistic play. The prominent women characters are  " Aai,  Vahini, Prabha, Dadi and Ranju". 

These women characters show family attachment and community bonds prevailing in the Maharashtrian society. They display feminine sensibilities in their behavior. The objective of this research paper is to analyze the female characters in terms of their actions and behaviour.

The play, Wada Chirebandi, begins on the fifth day after the demise of Tatyaji (Venkatesh) the patriarch of the Deshpande family of Dharangaon.

Dharangaon is a small hamlet in the interiors of Maharashtra where the influences of commercial Bombay has slowly spread its tentacles. The play begins with Aai, the widow of Tatyaji, awaiting the arrival of her second son Sudhir and his wife Anjali from Bombay, to attend the 13th day rites.

In the meantime, the eldest son Bhaskar and his wife, Vahini, has taken over the reins of the family by taking charge of the two objects of command, the keys and the ancestral jewellery box. Been a traditional Brahmin family, Bhaskar intends to conduct the rituals in full traditional fanfare even when the family has fallen in difficult lines.

Bhaskar expects Sudhir to bear the expenses, as his image of someone from a big city is that of been financially well off, while Sudhir claims that he is just about making ends meet in his two room apartment in the outskirts of Bombay. Thus the first crack in the already crumbling household begin. Ranju & Parag, the fourth generation, feels the need of escaping from their Wada as they feel stifled in a time stuck place. The obvious destination is Bombay.

The split in the family widens when each start claiming their own. Ranju, with cinema in her head feels her private tutor can be a vehicle to reach Bombay. Parag, who has moved in wrong company, wants to change his ways in a faraway land. Prabha the sister of Bhaskar and Sudhir wants to further her higher studies as the fears she would end like other ladies in the Deshpande household.All this leads to further complicacies which highlights the plight of such traditional families which have stuck in time.