Introduction: Girish Karnad is one of the most influential playwrights of our time and his plays have become a byword for imagination, innovation and craftsmanship. He has been honoured with the Padma Bhushan and was conferred the prestigious Jnanapith Award. He also received Sahitya Akademi Award. Girish Karnad wanted to be a poet, but he was destined to be a playwright. Basically Karnad belong to the Rannade theatre. Since 1980s, there has been considerable work done in the field of drama.
RECUPERATION OF INDIAN CULTURE AND TRADITION IN THE FIRE AND THE RAIN Girish Karnad is the famous respected media personality in the contemporary India, leading playwright and very skillful fractioned of the performing arts. The English translations of his plays are his own. They have brought him international recognition as the pre-eminent contemporary playwright. He has value of the Indian Literary scene by his contribution to art, culture, theatre and
aspect of independent India. Writers like Karnad who was both Indian and English in his writings effected a tension between the East and West. He did this by taking the raw materials for his plays from the myths and legends of his native state Karnataka. GirishKarnad is the most important name in the area of play writing in Indian English Literature. The greatness of Girish Karnad lies in the success on the stage as well as among the readers. Girish Karnad introduces existentialist issues like identity
epic dramas. Like the contributions of William Shakespeare and Oscar Wilde are immense to the western world, Girish Karnad’s playwrights are as important to the Indian literature- both vernacular and English. The Fire and the Rain (1995) is a translation of Girish Karnad’s Kannada play, Agni Mattu Male. However, by using the Sanskrit word ‘Agni’ instead of the Kannda word ‘benki’ for fire, Karnad maintains the sanctity of the god of fire. “‘Agni’ is what burns in sacrificial altars, acts as a witness
become obsolete and antiquarian. With the view to put forth an example of how efficiently a Indian critical theory can analyze and bring out the beauty of poetic expression the present study is an application of Kuntaka’s Vakrokti Siddhānta to the Girish Karnad’s play Naga-mandala.. It focuses directly on the poetic expression at six levels: phonetic, lexical, grammatical, sentential, episodic and compositional as a whole. These six levels as defined by Kuntaka in Vakrotijivitam are- varna vinyāsa-
and knowing it through and through”, Ramachandra Guha notes that there has been a decline in intellectual bilingualism – in the ability to contribute “to literary or academic debate in that language”(39). However, Sudhanva Deshpande mentioning Girish Karnad among many others argues that theatre is an exception, “multilingualism is well established, and well entrenched, in Indian theatre” (74). To Vilas Sarang one of the reasons for the bilingualism among Indian writers, other than the obvious one
Girish Karnad’s dramatic themes focus on the basic issues that concern the existential problem of an individual in the postcolonial modern Indian society. Gender and culture are two important social constructs that keep on modifying the existential space of an individual. These various class identities often identify the individual as a marginal ‘other’. This concept of the ‘other’ superficially seems to lie within the class constructs that are governed largely by the concepts of gender and culture
one of the most influential playwrights of our time, Girish Karnad and his seminal play Tughlaq which has gained high critical acclaim for its multiple layers of meaning and significance. Time and again critics have explored post colonial political perspectives in the play. However, the objective of my paper is to establish a subaltern turn in the same. At the very outset it needs to be emphasized that consciously or unconsciously Girish Karnad does not share the political goal of the Subaltern Collective
1972 gave Indian theatre playwrights like Baal Sircar, Vijay Tendulkar, Mahesh Dattani, Girish Karnad, Habib Tanvir and many more. These postcolonial writers worked on bringing back the cultural essence of India. Their works also highlight the conflicts that a postcolonial writer goes through while writing about the colonial effect on postcolonial era. Young actors, directors and playwrights like Girish Karnad has explored new techniques, styles and themes which has contributed a lot to the growth
The presence of Drama in the form of performative elements both dramatic and theatrical in almost every society throughout civilization is predominant. In the past the function of dramatic performance was evident in the rituals which witnessed enactments that portrayed the culture, beliefs and social being of a particular community. However in due course of time these enactments of rituals and ceremonies ceased to exist whereas dramatic performances were enacted simply for the sake of enjoyment and
Amitav Ghosh,a man of versatile genius, ranks with Mulk Raj Anand and R.K. Narayan. His fame rests in his sharp and penetrating sensitivity in depicting the human travelogue at microcosmic as well as epic scale. Amitav Ghosh's training as an anthropologist has been an important formative factor in his books. Travelling comes naturally to him. As such much of what he has written is travel based but this small book ‘Countdown’(1999) is a pure travelogue by Amitav Ghosh. The present paper is an attempt
From the onset of the twentieth century there has been an ongoing debate on context and text. Literary theorists all over the world propounded many theories that either divorced the two or made their bond stronger. From the 1920s there came a wave of critical theories, the New Critics pleaded for critical monism. The New Criticism took the poem as a work of art, a structure having an independent existence. They completely divorced the work of art from the biographical, sociological context; removed
When we talk about postcolonial Indian drama and theatre we cannot forget the name of Vijay Tendulkar who was one of India’s most impactful and compelling playwrights such as Girish Karnad, Habib Tanvir, and Badal Sircar who flourished the Indian drama by providing a new literary vision of postcolonial Indian theatre which keeps the contemporary concerns and subjects at its focal point in an unique, innovative and creative manner. Tendulkar’s prolific endeavor reigned over an extensive span of five