'घाशीराम कोतवाल'चा पहिला प्रयोग... सूत्रधाराच्या नजरेतून !

संग्रहित करण्यासारखी माहिती या लेखाद्वारे दिल्याबद्दल धन्यवाद.
(अर्थातच याची लिंक सेव्ह केली आहे.)

सुंदर लेखन आणि व्हिडीयो ! इथे दिल्याबद्दल धन्यवाद!

छान वर्णन आणि माहीतीही...:स्मित :

हे नाटक ऐतिहासिक बाजाचे नाटक असलेतरी, संपूर्ण ऐतिहासिक नाही. याचा खुलासा स्वत: तेंडुलकरांनीच खालील शब्दात केला होता.

हे ऐतिहासिक नाटक नव्हे.
ऐतिहासिक आधार असलेली ही एक अनैतिहासिक नॄत्यसंगीतमय दंतकथा आहे.
" घाशीराम "
हे विशिष्ट समाज-स्थितीची निर्मिती असतात.
हे समाज-स्थिती आणि घाशीराम स्थल कालातील असतात.
आधार मात्र इतिहासाची सर्व जबाबदारी लेखक जरी घेत असला तरी
पेशवाई, नाना फडणवीस, घाशीराम कोतवाल यांच्या इतिहासातील बर्‍यावाईट अव्वल अस्तित्वाविषयी मतप्रदर्शन
करण्याचा लेखकाचा हेतू नाही.
या दंतकथेमागील बोध..... असलाच तर..... वेगळा आहे.

विजय तेंडुलकर.

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हे संपूर्ण नाटक बारा भागात युटूबवर उपलब्ध आहे...

एक्झॅक्टली.

मस्त लेख. मी पाहिले आहेत मूळ संचातले प्रयोग. फोटोतील उजवीकडील नाजुकश्या सौ. वाटवे माझ्या वडिलांकडे गाणे शिकायला येत असत. पुणे रॉक्स.

ओह म्हणजे मानसशास्त्रज्ञ सुजल वाटवे का?

मस्तच. इथे आठवणी दिल्याबद्दल धन्यवाद.
पहिल्यांदा पहाताना ते नृत्य बघून थक्क झालो, तेंव्हाच कळाले की ज्याची अपेक्षा बघन्याआधी केली होती ते हे नाही, वेगळेच काहीतरी आहे. तरी माझी पिढी खूप नंतरची असूनही हे वाटत राहते. जब्बार इथे दिसतात. हे नाटक केवळ तेच साकार करू शकले असते. दुसर्‍या कोणी घेतले असते तर पडले असतेच.
जब्बार द ग्रेट आणि तेंडुलकर द महान.

<< ...चाळीस-पन्नास नवख्या, हौशी कलाकारांना हाताशी घेऊन उत्तम, गोळीबंद प्रयोग सादर करणे.>> १००% सहमत.
मी हा प्रयोग पाहिला तेंव्हां सूत्रधाराच्या अत्यंत लयबद्ध व चपळ हालचाली पाहून थक्क झालो होतो. इतक्या वर्षानी त्याना प्रत्यक्ष इथं मनापासूनचा सलाम पोचवायचा योग आला.
अप्रतिम, नेटका लेख. धन्यवाद.

सुरेख. हे इथे दिल्याबद्दल धन्यवाद

नाटक बघण्याची तर खूप ईछा आहे. कधी बघायला मिळेल? याचे प्रयोग "हर्बेरियम" कडून करणार आह्र्त का?

रोमांचक.. जिवंत अनुभव... तो ईथे पुन्हा जिवंत केल्याबद्दल सर्व संबंधितांचे आभार!

अत्युत्तम लेख. मनःपूर्वक आभार.

इंटरेस्टींग.

अप्रतिम लेख! दिग्दर्शक,सर्व कलाकारांनी किती मेहनत घेतली आहे या नाटकासाठी!हे मूळ संचातलं नाटक बघायचा योग नाही आला. पण या लेखामुळे तो काळ डोळ्यांसमोर उभा केलास.
धन्यवाद रार.

मस्तच.
या नाटकाबद्दल कधीतरी नुसते ऐकले, वाचले होते. हे अनुभवकथन खूपच आवडले.
आमच्यापर्यंत पोचवल्याबद्दल थँक्स रार.

अप्रतीम लेख.

काल रविंद्र नाट्य मंदिरला घाशीराम पाहिले. माधव अभ्यंकरांचा नाना एकदम खास.... गुलाबी झालेल्या कलाकाराची अदाकारी खूपच भारी....

प्रयोग अतिशय सुरेख...

ह्या लेखाबद्दल धन्यवाद! बघायला पाहिजे हे नाटक.

खुपच छान माहीती थँक्स रार.जुन्या काळातील सगळे संदर्भ नव्याने पाहाता आले. आम्च्या ओळखीत दातार नावाचे आहेत त्यांच्या हॉलमध्ये ते घाशीरामची प्रसिद्ध रांगेच मोठं पोस्टर होत आम्ही शाळेत असताना नेहेमी कुतुहलाने ते पाहायचो ... आत्ताही घरी घाशीराम पाहाताना कालातित असे उच्चस्तरीय भ्रष्टाचाराचे नमुनेच पाहातोय असचं फिलींग येत . माझ्याकडे आजही संपुर्ण सीडीआहेत फक्त हे कलाकार त्यात नाहीत. पण तरीही नाट्काचा हा उत्तम फॉर्म मात्र सुखावुन जातो.

कालच लोकसत्तात हा लेख दिसला. त्यातील हे चित्रही छान होते.

फार पुर्वी हे नाटक पाहिले होते. पण आता पर नवीन संचात आलेले नाटक पाहायचे आहे. आमच्या ओळखीचे एकजण ह्या नाटकात काम करतायत.

उत्तम लेख.
जुन्या आठवणींना उजाऴा मिळाला. मी १९७२ - ७३ साली हे नाटक किमान चार पाच वेळा पाहिले आहे. तेव्हा मी महाविद्यालयात शिकत होतो. त्या काळातील लोकांची मानसिकता पहाता नाटकाचा फॉर्म, कथानक वगैरे धक्कादायक होते. त्या वेळी पुण्यातल्या शनिवार पेठेसारख्या वस्तीत रहात असल्यामुळे तेव्हा या नाटकावरून झालेले वादविवाद, तत्कालीन वर्तमानपत्रातून येणारे लेख, चर्चा लक्षात आहेत.
या नाढकातील मोहन आगाशेनी केलेली नाना फडणीसांची भूमिका केवळ अविस्मरणीय. नाना फडणीसांची पालखीतून रंगमंचावर होणारी एंट्री , नाटकानील मोहन आगाशेंचा अभिनय व त्याचे संवाद अजूनही डोऴ्यासमोर उभे रहातात.
आजही हे नाटक मला आवडते. या नाटकाची सीडी मी पाहीलेली आहे. माधव अभ्यंकरानी केलेले नाना फडणीसांचे काम पण चांगले झाले आहे. या नाटकाचे मूऴ संचातल्या खेळाचे व्हीडीओ चित्रीकरण नसावे याचे आश्चर्य वाटते. मध्यंतरी टीव्ही वरील एका कार्यक्रमात मोहन आगाशेंना हा प्रश्न विचारला गेला असता, त्यांनी असे उत्तर दिले की परदेशात , बहुधा पोलंडमध्ये या नाटकाचा जेव्हा प्रयोग झाला होता, तेव्हा या नाटकाचे व्हीडीओ चित्रीकरण झाले होते. तिकडून ती चित्रफीत मिळवण्याचा प्रयत्न चालू असल्याचे त्यांनी सागीतले,

श्रीराम रानडे यांना लेखाबध्दल धन्यवाद

GHASHIRAM KOTWAL is a Marathi drama based on malicious accusations made by British on the Maratha Chancellor Nana Phadnavis. It caused a furore when it first appeared on stage in 1973. It was selected to represent the Indian theatre at the international gathering in Berlin in October 1980. Vasantrao Sathe the Minister for Information and Broadcasting and even Mr P. Narasinha Rao the Telagu speaking Foreign Minister protested. But Mrs Indira Gandhi overruled. What did the British papers say when the drama reached London?

No Pune intended

….. set in Pune at the end of the 18th century, the play shows the ruling class under the Chancellor, Nana Phadnavis to be decadent and debauched. Ghashiram a hard-done by Brahmin rises to power as Nana's Chief of Police and instigates a reign of terror (Guardian 28 October 1980)

Tales of the despots from old Bombay

.... As much an opera or ballet as drama "Ghashiram Kotwal" is set in the 18th century and tells with tart humour the story of a decadent city where the strait- laced ruling class, together with the all powerful and dignified Chancellor secretly frequent the red light district.

When the Chancellor attempts to seduce the beautiful daughter of a rascally servant, this cunning fellow insists on being made chief of police in return for his girl's favour.
(Daily Telegraph 30 October 1980)

What an exhibition at a time when Indians are regarded as good for nothing loafers everywhere in the world; How did this drama arise?

Nana Phadnavis's contemporaries like Warren Hastings, William Palmer (Resident at Pune) and John Seeley - Secretary to the British Governor General, have all praised Nana. He died in 1800. Maratha Peshwa Bajirao II was defeated by the English in 1818. Mountstuart Elphinstone was the last Resident at Peshwa's court in Pune, John Briggs (later General Briggs) was his assistant who forged an auto- biography of Nana and read it at the Royal Asiatic Society of London on 19 April 1828. It was published in their proceedings of 1830, but even Briggs admires Nana as a great hero.

Captain Archibald MacDonald wrote Nana's biography and even though it was published by the American Mission in 1851 it makes no reference to Nana's auto- biography. The 1927 edition of the book published by Humphrey Milford of London contains Nana's alleged autobiography. Ever since the days of Mahatma Phule there has been much anti-Brahmin feeling in Maharashtra. In 1863 one Moroba Kanhoba wrote a book entitled "Ghashiram Kotwal". Mr M.S. Dixit of Pune has recently (1981) proved it to be a thoroughly false document.

Knowing damn well that the theme of the drama is baseless, it has bad influence on the people and that it is insulting to a national hero like Nana, those who are trying to justify it are putting forward some fantastic arguments.

'Manoos' weekly of Pune has persistently supported the drama. When it first came on stage the editor wrote - "though the title is Ghashiram Kotwal it does not tell his story. (So why not use an appropriate title?) It is not, as suggested currently in newspapers, a one-sided picture of Nana nor does it have any mud-slinging on him. (Wonderful. Does it show the wit, cleverness & intelligence of Nana? No. It simply shows him to be a sex crazy man. So how is it not a one- sided picture of Nana? Don't ask such questions) During the downfall of any society people lose their moral values. In social history this decadence is very important. (24 Feb 1973)

Historian Setu Madhavrao Pagdi delivered a lecture in the famous Sarasbag in Pune on 21 January 1980. He explained the work of Nana Phadnavis and Mahadji Shivde. He said "These two were the giants ever produced by Maharashtra, and how do we remember and honour them today? By producing dramas like Ghashiram Kotwal; While watching that drama my blood was boiling every minute. During the interval I met a professor who remarked - what a chance did Nana have; I was absolutely furious.."

Commenting on Mr Pagdi's lecture Mr D.B. Mokashi a well known Marathi author wrote. "It is true that many people like Mr Pagdi were hurt. But it also gave pleasure to many, like the pleasure of saying "What a chance did Nana have;" Some were delighted to see how the Brahmins were humiliated (brahmanchee kashi jiravali!) Many actors who take part in this drama are themselves Brahmins, if they had known the truth about Nana, they would not have acted. I am sure they had quarrels with their parents. They would have had the satisfaction of having insulted the elderly as representatives of Nana's times..... As the time goes by Nana etc would not be regarded as historical characters (so why use the historical characters in the first place? Every generation has some randy, saucy men. Nana would be looked upon as one such man. (Manoos 9 Feb 1980).

(Note - we know damn well that this does not happen. People who see such drama carry foolish impressions throughout their life).

Justifying sending of this drama to Berlin Festival, Mr Majgavnkar the editor of Manoos wrote "Mr Tendulkar the author says that the drama is not a historical one at all;(So why use historical characters like Nana and Ghashiram Kotwal etc? Why not have some imaginary names like Jawaharlar Nehru or M.K.Gandhi?).

...In the near future lustfulness, corruption etc would become virtues. So what is all the fuss about? (27 Sept 1980).

"This is art, not a history book" says the play's director Jabbar Patel, a Muslim, "People like Ghashiram are created by the politicians so that they can kill their own enemies indirectly. It happens not only in India but throughout the world, so this becomes a universal play." (Guardian 28 October 1980)

(Note - Nana did not rely on a reign of terror to remain in power. After Raghoba Peshwa, who arranged a murder of his nephew Narayanrao, was deposed by the council of twelve (barbhai ) Ghashiram installed an excellent system of police and spies and made the Maratha state secure from the threat of English. True, in later days he misused his power and paid for it with his life).

Before the show we are assured that the author, Vijay Tendulkar intended no disrespect to a historical character. (Daily Telegraph 30 October 1980)

'Manoos' carries a series called " (shyamcha sansar) Shyam's family life". In one of them (in 1983) we are told - When the Europeans go to performances of foreign dramas like Ghashiram Kotwal, surely they study Maratha history beforehand and know the truth. (Note - what an argument; If a French or Polish drama comes to your town, would you study French or Polish history? or would you be guided by what you read in the papers or bulletins?)

In the same series the author tells us of the story of an old Arab from Oman who went to India and married a young Muslim girl from Miraj. He seeks help from Shyam for letter writing and dealing with formalities to bring his wife to Oman. A Bengali colleague tells him that Ghashiram Kotwal was becoming popular in Europe. Shyam says to hemself "What a life; We are gaining fame by showing a drama on a man of loose morals. When dirty old Nana married teenage girls or spoiled the life of Ghashiram's daughter how many people like me would have felt sad?" (Manoos 26 June 1982)

Mr Dattatreya Ganesh Godse, famous Maharashtrian painter and art critic has recently written a book of historical essays entitled "Samand-e-Talash. One of them is 'Nana's autobiography'. Mr Godse shamelessly and without the slightest hesitation repeats all the false stories. It is much more disgusting to find him arguing that those who condemn the drama Ghashiram Kotwal should study Nana's autobiography; (Manoos 5 June 1982)

Dramas like Ghashiram Kotwal have a lasting disastrous mental impact. Maharashtrians in England welcomed it with great enthusiasm when it came to London and the very same people are utterly reluctant to have any celebrations during the Veer Savarkar Birth centenary year; British immigration officers were carrying out virginity tests on our women when Ghashiram came here. And what were the staunch supporters of Ghashiram doing in India? Nothing. Absolutely nothing. It did not make their blood boil. And now it is reported that British doctors are carrying out horrifying experiments on pregnant Indian women in Central Middlesex Hospital and St Mary's Hospital Medical School (See Asian Times of 18-24 November 1983). Is Mr Tendulkar now going to write a drama giving us the pleasure of seeing how our women were humiliated? or is he going to find something stimulating, thrilling, inspiring and exciting in the life of Nana? Does he know that though Nana was never a swordsman he did not flee from the battle of Panipat in 1761 until after Holkar and Shinde had deserted?

by V S Godbole (Newsletter No. 12 of 16 February 1984)
http://satyashodh.com/nl12.htm

हे नाटक ‘अनैतिहासिक’ आहे, असे तेंडुलकरांनी म्हटले होते. सत्तासंघर्षांत होणाऱ्या (अपरिहार्य?) कटकारस्थानांचे, दगाबाजीचे आणि हिंस्रतेचे दर्शन या नाटकात आहे आणि म्हणून ते ‘स्थलकालातीत’ आहे, असेही नाटककाराने आवर्जून नमूद केले होते.
वरील वाक्ये आहेत लोकसत्ताचे तत्कालीन संपादक व पत्रकार श्री. कुमार केतकर यांच्या अग्रलेखातील. हा अग्रलेख वाचनीय आहे. त्यांनी नुकत्याच घडलेल्या घटनेच्या संदर्भात या नाटकाचे कथासूत्र ऊलगडून दाखविले आहे.
हा लेख वाचण्याकरीता खालील दुव्यावर टिचकी मारा.
http://kumarketkar.blogspot.com/2010/04/blog-post_24.html

तसेच Indian Express या दैनिकात दि. २० ऑक्टोवर १९९९ रोजी या नाटकात खालील लेख प्रसिध्द झाला होता.

The Legend Endures

Vijay Tendulkar's plays reflect a magical combination of currency and timelessness, says Sona Bahadur

Topicality and timelessness combine to create an enigma around Vijay Tendulkar's plays. The playwright, who began his career in the mid-50s, has 28 full-length plays to his credit, most of which have been translated and produced in major Indian languages. The fierce controversy surrounding his plays, many of which were censored following their immediate publication, is perhaps an obvious indicator of their currency, their strong rootedness to the socio-political context in which they were written. At the same time, the magnetic quality of the plays, reflected in the frequency with which they continue to be performed in different parts of India and abroad, suggests a certain universal quality. What, then, accounts for the magic of Tendulkar's plays? The enduring appeal of Tendulkar's plays is most obviously exemplified by his play Ghashiram Kotwal. Set in late 18th century Pune, theplay documents the degeneration of the socio-political fabric during the last days of the Peshwa rule. First performed in 1973, the play was initially banned for its alleged anti-Brahman stance and for its portrayal of Nana Phadnavis, the central character, in a historically inaccurate light. The production was subsequently revived by the Theatre Academy, Pune, which went on to perform the play more than 500 times in the following years.

Translated into several languages, Ghashiram is regularly performed at theatre festivals across the country. It has also been performed abroad. But what makes a historical play like Ghashiram seem so relevant to the contemporary times? Says Tendulkar, "I never approached Ghashiram as a historical play. The impulse to write the play was provoked by the contemporary political situation of the time, specifically the rise to power of the Shiv Sena in Maharashtra. But it has been interpreted differently with changing political situations including theEmergency. Performed with sensitivity and intelligence, a play can be infinitely renewed to suit the current milieu. Take the case of Shakespeare, who remains the most widely performed playwright despite the passage of time. But the openness of the play to interpretation is not intentional on the part of the playwright. Rather, it is innate to the play. Though Ghashiram was a product of my reflections on the rise of the Shiv Sena, I was ultimately interested in examining the situations which lead to the creation of Ghashiram-like forces in society. The Ghashirams of the world die, but the situations, which give birth to such forces, recur and are personified in the character of Nana Phadnavis. Beneath the superficial changes in history, the larger dynamics of power are cyclical. That is why such a play continues to evoke interest."

The combination of currency and timelessness which characterises Ghashiram also manifests itself in Tendulkar's social plays, which, like his political plays,continue to inspire new productions despite their controversial content. Says Hindi theatre veteran Dinesh Thakur, who has directed and acted in Tendulkar plays for more than two decades, "Vijay Tendulkar continues to be my favourite Indian playwright because of the sensitivity and accuracy with which he depicts social issues. The astonishing range of his plays, be it the victimisation of the individual by society in Shantata! Court Chalu Ahe!, or the moral collapse of a family in Gidhade, or the ruthlessness of the media in Kamala, provides a director a very large thematic canvass to choose from. At the same time, the lack of moralising gives the plays a very open-ended feel, leaving ample scope for directorial interpretation."

Adds daughter Priya Tendulkar, who has acted in several of her father's plays and plans to write a book on him, "The innovative use of form, whether it is the mock trial in Shantata!... or the human curtain in Ghashiram.., is another magical component in his(Tendulkar's) plays." Currently involved with directing Aap Ki Adalat, an interview-based television show anchored by daughter Priya, on Zee News, Tendulkar says he does not want to write plays any longer. Why? "A certain weariness has set in with the collective medium. Now I want to write only for myself, for which a novel is better suited."

Significantly, the septuagenarian chose to clinch his theatrical career with The Cyclewallah (1992), a play which incorporated elements of fantasy to convey the sameness of human nature. "The cyclewallah is a reflection of people who spend their entire lives in a fantasy without any understanding of reality. But to live in the true sense of the word, a person must live through situations that force him to look beyond himself, situations which shock him by confronting him with the unimaginable," says Tendulkar. Perhaps it is this hard-hitting impact of Tendulkar's plays, which jolts audiences out of their complacency each time that accounts, more than anyother element, for their immortality.

मस्त लेख !

सुंदर लेख. धन्यवाद, रार.

<<हे नाटक ‘अनैतिहासिक’ आहे, असे तेंडुलकरांनी म्हटले होते.>>

पण हे कधी मान्य केले?? विरोध सुरू झाल्यावर, पुरावे मागितल्यावरच ना?? नाटक सुरू व्हावयाच्या आधी किंवा नंतर हे ‘अनैतिहासिक’ नाटक आहे व वास्तवाशी ह्याचा काहीही संबंध नाही असे सांगितले जाते का?? (मी ई मराठी वर नाटक पाहिले होते नाट्यग्रुहात असे सांगितले जाते का ह्याची कल्पना नाही, सांगत असतील तर उत्तम नाहीतर सांगावयास सुरूवात करावी.)

<<सत्तासंघर्षांत होणाऱ्या (अपरिहार्य?) कटकारस्थानांचे, दगाबाजीचे आणि हिंस्रतेचे दर्शन या नाटकात आहे आणि म्हणून ते ‘स्थलकालातीत’ आहे, असेही नाटककाराने आवर्जून नमूद केले होते.>>

तेंडुलकरांना नाना फडणीस ब ब्राह्मणांच्याच सत्तासंघर्षाचे उदाहरण का घ्यावेसे वाटले? ओरंगजेब, अकबर, बाबर, टिपू, इंग्रजांचे किंवा इतर स्वदेशी राजघरण्यांचे का दिसले नाही (होते हे त्यांना मान्य असेल तर)? नाना फडणीसांचे उदाहरणच घ्यायचे होते तर मग त्यांची चांगली बाजू का दाखिवली नाही??

अक्षय, शेवटच्या परिच्छेदाशी सहमत.
त्याचबरोबर,
यान्ना साधारण दोनशे वर्षान्पूर्वीचे नानाफडणवीस अन घाशीराम लेखनासाठी (खरेतर व्यावसायिक लेखनासाठीच!) आठवले पण तोवर उणीपुरी पन्चवीस वर्षेही न होऊन गेलेला, तेव्हाचा आख्ख्या पश्चिम महाराष्ट्रातुन (व सध्याच्या उत्तर-पश्चिम) कर्नाटकातुन जाळपोळी खूनखराब्याच्या दहशतिद्वारे गावागावातुन हाकलवुन लावल्यामुळे "पुण्यातच" शब्दशः निर्वासित म्हणून कुणाच्या तरी काडीच्या आधाराने अत्यन्त दारीद्र्यात, (अन तरीही ताठ मानेने, एक मायबोलिकर 'विनायक रानडे' कुठे तरी एका धाग्यावर म्हणतात तसा "ब्राह्मणी संस्कार" जपु पहात) कसेबसे जीवन कण्ठणार्‍या असन्ख्य ब्राह्मणान्च्या वाताहातीवर, त्यान्च्या वाया गेलेल्या दोनचार पिढ्यान्च्या जिन्दगानीवर काही लिहावेसे वाटले नाही यातच सर्व येते. यातच या सो कॉल्ड लेखक/कलावन्त/कलाकारान्चे "अभिव्यक्ति स्वातन्त्र्य" ठसठशीत पणे उठून दिसते ते असेही/अशाप्रकारेही!
अन समजा तेव्हाच लिहीले अस्तेही, तरी त्याचेही सादरीकरण कशाप्रकारचे अस्ते ते आजकालच्या ब्रिगेडी तमाशामधे दिसुन येतेच आहे! नै का?
अर्थात मला या कशाचेच नवल न वाटता, टिळकयुगाच्या अस्ताच्या आसपासच सुरु झालेला तथाकथित समाजवाद, कम्युनिझम नि त्यान्चे कॉम्रेड्स अन त्यान्ची धर्मविरोधी मते, यान्च्या तालमीत तयार झालेल्या त्याकाळच्या "बुद्धिजीवीन्चा" स्वधर्मद्वेष, अन त्याकरता ब्राह्मणविरोध कधीच लपुन राहीला नव्हता. किम्बहुना, साहित्याच्या अनेक क्षेत्रात तो या ना त्या प्रकारे झिरपतच राहिला, स्लो पॉयझनिन्गप्रमाणे. पण तत्कालिन स्वातन्त्र्यचळवळ व नन्तरच्या धामधुमीच्या काळात यावर तितके लक्ष देणे तत्कालिक धुरिणान्ना जमले नाही/अशक्य व्हावे अशी परिस्थिती निर्माण झाली, जे काय असेल ते असो, पण आजचे ब्रिगेडी तत्वज्ञान ही त्याच झाडाला/वेलीला आलेली फळेफुले आहेत हे निश्चित. (हे माझे मत आहे)

अरे वा ! आज वाचले. सुंदर लेख. धन्यवाद, रार, नंद्या आणि रानडेकाका.