era, which was largely "literary drama" from with a Westernized idiom, tamasha like other prevalent indigenous theatre forms, like jatra in Odisha and bhavai in Gujarat, was also deemed "debased", even "corrupt", while being relegated to being only "folk" form. The turning away of urban middle class audience from traditional forms, cause a disruption in the theatrical traditions besides creating a divide between urban and rural theatre, as tamasha continued to flourish out the urban pockets. In 2002, the state had 450 tamasha troupes with approximately 10,000 artistes. Influence Main elements of tamasha, like loud humour, suggestive lyrics and dance numbers, proved influential in the development the Bollywood idiom, which is based in Mumbai. Even today, the mainstream cinema or Masala films, complete with their suggestive dance numbers, now known as item number, and humour sequences remain largely entertainment oriented. Over the years, some modern theatre practitioners have incorporated the traditional forms like tamasha and dashavatar into their plays. In the 1970s, during the rise of modernMarathi theatre, the tamasha form was employed as narrative device and style in several notable plays like Ghashiram Kotwal by Vijay Tendulkar, Vijaya Mehta's Marathi adaptations of Bertolt Brecht's The Good Woman of Setzuan as Devajine Karuna Keli (1972) and Caucasian Chalk Circle as Ajab Nyaya Vartulacha (1974), P. L. Deshpande's Teen paishacha Tamasha (1978), an adaptation of Brecht's The Threepenny Opera. In popular culture The 1972, Marathi hit film, Pinjra directed by V. Shantaram, starring Shriram Lagoo and Sandhya in lead roles was set in the Tamasha musical theatre. Besides this other Marathi films made of Tamasha include, Sangte Aika (1959) directed by Anand Mane and starring Jayshree Gadkar, Sawaal Majha Aika! (1964) by Anant Mane and starring Jayshree Gadkar, Ek Hota Vidushak (1992) by Jabbar Patel, Natarang (2010) by Ravi Jadhav and Tamasha - Hach Khel Udya Punha (2011) by Milind Pednekar. A 2006 multilingual documentary film, Silent Ghungroos, traces the origins of Tamasha in the Peshwa period to its contemporary form, where the form competes with modern entertainment mediums. Many books have been written in the Marathi language which dwells on the Tamasha as an art, its problem, artist & their contributions. Few notable books are 'Tamasha-Kala aani Jivan' by Dr Chandanshive, 'Vagsamradni Kantabai Satarkar' by Dr Khedlekar, 'Kalavantanchya Aathavani' by B.K. Momin Kavathekar, 'Gabhulalelya Chandrabanat' (a fictional love story) by Vishwas Patil, 'Tmashatil Songadya' by B. S. Shinde, 'Tamshatil Stree