Girish Karnad Research Articles

Ethos of Yajña Ritual: Mapping Girish Karnad’s The Fire and the Rain

Ethos of Yajña Ritual: Mapping Girish Karnad’s The Fire and the Rain

Engagement with Folklore in the Plays of Girish Karnad

Engagement with Folklore in the Plays of Girish Karnad

A study of Girish Karnad as an indo-western playwright with special reference to ‘Hayavadana’

A study of Girish Karnad as an indo-western playwright with special reference to ‘Hayavadana’

Feminist Readings of Space, Body, and Performance: An Overview of Emerging Feminist Theatre in India

The theatre has been an amalgamation of history, society, and its representation where it connects with the audience directly. It has been a medium of resistance, protest, and entertainment and a cultural and social tradition in various countries. This paper is an analytical study of feminist theatre and its nuances, showing that theatre, which has been used as a mode to protest and resist, becomes a tool to reclaim and re-own space and body for women. It is essential to theorize Feminist Theatre so that its congruency can be established with the socio-cultural and historical paradigm. All the genres that were written to stabilize feminist thought in the discourse fell back on the conventional praxis of mythology and other texts. For example, Indian narratives borrowed feminine tropes from the classical texts whether it was Rabindranath Tagore or Girish Karnad, women were phenomenal yet subdued. Hence, when men wrote women, there was always a hint of “othering” the female gender in these write-ups; there was always a moralistic judgment of these women. Thus, this study is an attempt to theorize women playwrights and feminist performances that have made an attempt to pave the way for feminist scholarships and feminist theatres to evolve.

Unbecoming of a unified religion: A Foucauldian reading of Girish Karnad’s Tale-danda and the Lingayat plight

Based on the theme of caste conflict in Girish Karnad’s play Tale-danda, this article aims to delineate how a sub-sect of a majoritarian (Hindu) community endeavoured to establish itself as a distinct religious group (Lingayatism), failed miserably in its mission, and how it is forced to ultimately merge itself into the larger community. The article will explore the reasons for its failure from the events of Karnad’s play Tale-danda, written against the backdrop of the actual events of the Lingayat Movement led by the poet–saint Basavanna in the twelfth-century CE Karnataka. In the play, Karnad depicts many instances of caste consciousness and caste conflicts among the characters. The main objective of the study will be to analyse these sites of conflict as depicted by Karnad in his play Tale-danda, in light of the French philosopher Michel Foucault’s concepts of power/knowledge and discourse. This article will also highlight how sometimes intra-caste conflicts are more prominent than inter-caste conflicts.

Girish Karnad’s Hayavadana : A Thematic Analysis

The essence of folk drama and its expressions, particularly within the context of Indian theatre, using Girish Karnad's play "Hayavadana" as a case study. It highlights how folk drama encapsulates the mindset, lifestyle, and societal perspectives of specific regions, transmitted orally or through performances. Karnad's reworking of folktales and myths for contemporary issues is discussed, emphasizing his fusion of classical and folk elements in his plays. The abstract explores the use of various folk theatrical devices such as Sutradhar, masks, dolls, and actor-audience interaction in "Hayavadana" to convey complex themes of identity, completeness, and the human condition. It also touches upon the adaptability and improvisational nature of folk stories and their relevance across time and space. Overall, it presents a comprehensive analysis of theme of folk traditions inform and enrich contemporary theatre practices.

Construction and Consolidation of Caste System Through Ideological State Apparatuses: A Study of Girish Karnad’s Talé-Dan˙d˙a

This article critically examines Girish Karnad’s play Talé-Dan˙d˙a as a lens through which the construction and consolidation of the caste system in India is explored. The study focuses on the utilization of ideological state apparatuses (ISA) by the ‘upper-caste’ to suppress attempts at social reform and the creation of a casteless society. By analysing the characters and their interactions within the play, the article argues that repressive and non-violent state apparatuses, such as religion, family, identity formation and language are employed to perpetuate caste-based discrimination and maintain the existing social hierarchy. Drawing on Louis Althusser’s concept of ideological and repressive state apparatuses, the article provides a comprehensive analysis of how these apparatuses are instrumental in preserving caste-based inequalities and solidification of the caste system.

Characteristic of Western and Kannada Absurd Dramas

In the literary heritage of modern Kannada theatre, innovative methods of writing such as stories, poetry, novels, etc., which are limited only to plays, should be taken into consideration. After the 19th century, modern Kannada theatre under the influence of Western theatre took a path of innovation and expanded its range of features. Along with the Kannada Renaissance literature, the modern Kannada dramas that came to light are mostly imitations of Western and Indian Sanskrit dramas. Apart from that, important Western plays like Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov, Harold Pinter, Sart, Albert Camus, Brecht, are found to have built upon modern dramas on a satvika basis. Following this Kannada Absurd dramatists can be divided into two groups. The material portrays incongruous things through a coherent technique using coherent language. Playwrights like Kirtinath Kurta Koti, G.B. Joshi, Girish Karnad can be identified. The second group includes Chandrasekhar Patil, P. Lankesh, Chandrasekhar Kambar can be named. Kalyan Karnataka dramatist Chandrakant Kusunur is popular among Absurd dramatists. He wrote the most plays among the Absurd plays. We did not see any western influence in many of his plays. He has written Ani Bantani, Dindi, Mane, Rekke, Vidushaka. Ratto Ratto Rayana Magale etc. play an important role in the development of Kannada anomaly. Western Kannada Absurd plays can thus be observed in a geographically adequate traditional setting. This article attempts to analyse the different types of dramas, and dramatists, who contributed to the field of Absurd dramas in Kannada theatre due to the influence of western Absurd dramas in Kannada drama literary tradition.

The Visions of a Visionary—Girish Karnard’s Play The Dreams of Tipu Sultan

Indian playwright Girish Karnad seeks to challenge the conventional historical portrayal of Tipu Sultan in his play Dreams of Tipu Sultan by emphasizing Tipu’s personal and psychological experiences. As a pioneering playwright known for blending diverse theatrical styles, Karnad integrates real historical events with creative storytelling to present Tipu Sultan as a complex figure deserving of both respect and empathy. The play begins not with the central character of Tipu Sultan, but with two historians, Mysorian Kirmani and the British Colin Mackenzie. These historians serve as a lens through which the audience can explore and question the traditional narratives surrounding Tipu Sultan’s life and reign. They raise important inquiries about the authenticity of historical accounts and traditional narratives and encourage a more nuanced understanding of Tipu Sultan’s motivations, relationships, and inner world. By delving into the personal and psychological experiences of Tipu Sultan, Karnad invites us to question and reevaluate our understanding of history, new historicism, and the human portrayal of the historical figure Tipu Sultan.

Exploring Urban Dynamics: Setting in Girish Karnad's Dramatic Universe

This study delves into the complex urban dynamics portrayed within the dramatic universe of renowned playwright Girish Karnad. Through an in-depth exploration of characters inhabiting Karnad's urban landscapes, this study seeks to explore the multifaceted interactions, conflicts, and transformations that represent urban life. Drawing upon textual analysis and theoretical frameworks from different plays of Karnad, it examines the ways in which Karnad's characters negotiate identity, power dynamics, and societal norms within the urban environment. By analysing the complexities of urban existence as depicted in Karnad's works, this study aims to contribute to a deeper understanding of contemporary urban experiences and their representation in Indian theatre. The study contains three plays and critical analysis of the characters with opposite mindsets and struggling to adjust their existence in the modern digital world. The study has first analysed the setting of all the three plays separately. The study explores the dramatic universe of Karnad and unfolds the complexities of the dual world.

Girish Karnad’s Yayati and Hayavadana: A Mythical Experiment

Yayati and Hayavadana are the most eminent plays written by Girish Karnad. Myths are recognized as perfect ethical perspective from an alternate perspective. Myth holds significant importance in history as well as in literature, philosophy, and various aspects of human life. Myths have been a crucial element in oral, written, and visual storytelling for many millennia. That is the reason they have been present throughout all of humanity’s history. Every child in India has been raised hearing mythological stories of gods and goddesses. Mythological tales are also essential in the study of culture. Yayati is a mythological tale that is part of our Indian heritage. Yayati retells a mythological story from the Mahabharata, focusing on ancient king Yayati and his desires. Karnad sourced the plot of the play Hayavadana from Kathasaritsagara, an ancient Sanskrit collection of stories.

Translating Land into Stage: Observations on the Patterns and Presentations in Girish Karnad’s ‘Hayavadana’ and ‘Nagamandala’

Translating Land into Stage: Observations on the Patterns and Presentations in Girish Karnad’s ‘Hayavadana’ and ‘Nagamandala’

A Comparative Analysis of Aspiration Errors among Postgraduate Students from Pashto and Punjabi Language Backgrounds

This research investigates pronunciation errors in English, specifically focusing on aspiration among postgraduate students from Pashto and Punjabi backgrounds at a public university in Lahore. It aims to identify the distinct pronunciation challenges faced by these groups when learning English as a second language. Voice recordings of participants reading a selected passage from "The Dreams of Tipu Sultan" by Girish Karnad are analyzed, particularly focusing on words containing aspirated sounds, like the /t/ phonic. The study includes participants from both linguistic backgrounds to ensure diversity. Analysis reveals that Pashto speakers generally demonstrate better pronunciation proficiency with fewer errors, while Punjabi speakers struggle more with aspirated sounds, notably the /t/ phonic. These findings align with existing literature, emphasizing how the native language's phonological system influences English pronunciation. The research contributes to understanding language acquisition and suggests tailored teaching approaches for diverse student populations, emphasizing the need for customized interventions to improve English proficiency among Pashto and Punjabi speakers in multicultural academic settings.

Decoding Identity Crisis and Rejection of Social Norms: A Study of Girish Karnad’s Hayavadana

The present research article aims at analysing the complex narrative of Girish Karnad’s play Hayavadana. The play emphasizes the exploration of women’s identity, autonomy, and resistance against patriarchal norms. It is celebrated for blending of mythical elements with contemporary themes, particularly focusing on women’s pursuit of self-identity and emancipation. The play transcends cultural and geographical boundaries, positioning the play within a global discourse on femininity and societal expectations. It intricately weaves the story of Padmini, a woman caught in a web of desire and societal constraints, highlighting the challenges she faces in seeking fulfillment and autonomy. Through the lens of Padmini’s character, the study explores themes of desire, gender roles, and the quest for a unified self in the face of traditional expectations. Central to the play and the study is the portrayal of the goddess Kali, who represents the subversion of traditional gender roles and the assertion of feminine power. Kali’s intervention in the narrative serves as a pivotal moment for Padmini, allowing her to confront and navigate the constraints imposed by societal norms and expectations. The research highlights Karnad’s use of traditional narratives and characters to critique and challenge societal norms, particularly those related to gender and identity. The play discusses the global contexts. The present study underscores the play’s relevance to ongoing discussions about gender, power, and the legitimacy of women’s aspirations. Karnad’s work emerges as a transformative piece that not only questions established narratives but also proposes a reimagining of women’s roles in society, advocating for a space where women can assert their desires and identity free from patriarchal limitations.

Myth and Patriachy in Girish Karnads Play Yayati

Girish Karnad play is the most significant playwright of post-independence literature and his plays have become a byword for imagination and innovation. he used folktales and myths in her plays to reveal the social reality. This paper mainly approached the contemporary of Karnad's play, "Yayati " translated is the first dramatic venture by Girish Karnad, written first in 1961 and translated by the dramatist himself into the English language in 2008.

Thematic Analysis of the Sociocultural Decapitation in Karnad’s Play: ‘Tale-danda’

Drama is a source of entertainment as well as enlightenment. Girish Karnad uses this audio-visual medium to bring to light a social vice of India, namely, casteism and its age-old impact on its victims. Its sway on society and the resultant retaliation by its sufferers is highlighted by the dramatist using the legendary figure of Mahatma Basaveshwara as a reformer in one of his English plays entitled Tale-danda (The Beheading) in English. Karnad’s approach in this play is full of censure against the oppression of the underprivileged. For ages, they were the victims of social persecution which once resulted in an anti-elitist uprising in south India. The movement later culminated in a kind of sociocultural decapitation of the underprivileged in twelfth-century Karnataka. The present paper attempts to focus on this historical event and its aftermath as dramatized in the play on the avenging individuals.

Rasa Analysis of Girish Karnad's Hayavadana

Rasa is an aesthetic feeling aroused in the reader or spectator when he witnesses an effective presentation of art. Sage Bharata in ancient India pioneered and Abhinav Gupta elaborated the theory of Rasa. According to the Rasa Sutra, rasa nispattih is a result of the conjunction of vibhāva, anubhāva, and Vyābhicāribhāva, which appeals to the Sthāyibhāva and leads to rasa realization. Hayavadana is a two-act play, originally written in Kannada by Girish Karnad. He himself has translated the play Hayavadana in English. There are two stories, one is of two best friends, Kapila and Devadatta, and a lady named Padmini, another is about a horse headed man- in search of completeness. Author has used various dramatic techniques like, Narrator/ Sutradhar, Puppets, Use of masks, and subplots. Any literary work consists of Rasa in it. In this research paper, the researcher wishes to study Hayavadana in the light of Rasa Theory. This play has already been studied from different perspectives like myth, realism, identity crisis, portrayal of woman, and incompleteness. There is a scope to study this Indian work of art in English from the point of view of Indian Poetics, specifically Rasa Theory.

Exploring the Potential of Twine Fiction as an Interactive Learning Tool for Literature Education: A Case Study of Girish Karnad's Naga-Mandala

Twine fiction is a digital genre of literature that allows for multiple paths through a narrative, with readers choosing their own adventure as they click through links and explore different threads. By using the latest type of hypertext (twine) as an interactive model in narrating a text, readers can engage with the story in a way that is more immersive and interactive than traditional linear narratives. The paper aims to explore the use of Twine Fiction platform as an interactive model in narrating a text. It also tries to investigate the ways in which it can be used to help students engage with and learn from literature in new ways. This paper aims to examine the potential of twine fiction as a tool for educators to engage students with literature in new and innovative ways. Girish Karnad’s text ‘Naga-Mandala’ has been opted for this reference as to illustrate the interactive learning materials that provide students with a more engaging and meaningful reading experience. This is particularly relevant in the digital age, where students are increasingly accustomed to interactive and multimedia forms. By using hypertext (twine fiction) to teach literature, educators can create materials that are both fun and challenging, engaging students in critical thinking and analysis. Hypertext can also be used to teach literary elements, such as point of view, theme, and symbolism, by allowing students to explore different paths through the narrative and draw connections between different threads. The paper further argues that a traditional text converted into twine fiction has the potential to revolutionize the way that literature is taught and learned.

Infeasible Desires of Women in Girish Karnad’s Selected Plays

This article is a humble attempt to search the identity of women in the patriarchal society prevailing in India. The condition of women in India has undergone several alterations since past millennia. During the Vedic time, women enjoyed a higher status and were extolled to the heights of Heaven by epitomising her as Goddess. Gradually with the passage of time women lost their status and dignity. She is regarded as an abla, a weak and helpless lady who depends upon man for her existence and sustenance. Indian Literature viewed women as role bound possession whose sacrifices preserved the sanctity and the well being of the family. Literature has always been ambivalent in its representation of women. Writers observed that women had become a heated argument and they started portraying them in their works. They drew inspirations from the real life incidents, which talked about liberating the images. This article traces the paradigm shift where women emerge despite all obstacles to hold her identity in personal and professional life. This paper aims at portraying, the women is no more an accessory to man rather she is a companion, a life partner who is equal to men in all aspects.
 Keywords- Women, obstacle, patriarchal, alteration, existence

Switching Heads and Cultures: Transformation of an Indian Myth into the Quest of Identity Crisis in Girish Karnad’s Hayavadana

Myths and legends have an enduring significance for the fundamental human obsessions. Indian drama is flavoured with several elements in which mythology plays an important role. One of the most renowned playwrights of contemporary India, Girish Karnad who has made use of the theatre to explore the culture of Indian past, re-created Hayavadana, a commentary on the problems of human being’s search for completeness and perfection, with his own imaginative calibre deriving it from Kathasaritsagar, an 11th century compendium of Indian legends and drawing the picturesque of Thomas Mann’s story of The Transposed Heads in a modern approach. It revolves around the triangular relation between Padmini, Devdatta and Kapila ending in Padmini’s frustrated search to get the best of both men in one body highlighting the confusion of human identities and the ambiguous nature of human personality. This present paper focuses on how Girish Karnad re-interprets the mythology in his creation rummaging a conflict between modernity and indigenous tradition against the backdrop of mythical history to enunciate the acute crisis of identity, self-discovery and imperfection or and wholeness to reach to the zenith of perfection that is next to impossible reflecting the strength of psychology over the physical one where the human beings strive to obtain perfection in all the aspects throughout their life but they forget the fact that perfection is something that is unachievable. It is concluded that although the ending of the play is not within the orthodoxy of Indian epic texts and Hindu philosophy, it can be seen in the cultural context of an Indian woman of today who seeks to fulfil her needs and aspirations.