Dholaki Fadcha: It incorporates, song, dance and theatre and therefore it is a complete art form. b) Sangeet Baaricha: Traditional form of tamasha consisted of dancing boys as 'nachya who also played the female part, a poet who plays the role of sutradhar and also the compere of the show. With time, women started taking part in Tamasha. Marathi theatre made its beginning in 1843, and in the following years, Tamasha expanded its thematic repertoire and added small dramatic and humorous skits, known as Vag, to it. These were either in prose or comprised of long narrative poems performed by the Shahir along with his chorus, with actors improvising their lines. Popular Vag composers of the time were Patthe Bapurao and Dattoba Sali, and one of their noted vag, Gadhavache Lagna (Marriage of Donkey) was popularized by Tamasha artist, Dadu Indurikar. Soon, noted Marathi writers started written Vags for tamasha troupes. Main elements of tamasha, are loud humour, suggestive lyrics and dance
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