Girish Karnad Research Articles

Futile Quest for Perfection: Understanding the Aesthetics of Wabi-sabi through Girish Karnad’s Hayavadana

The essence of a man's existence is fundamental to the pursuit of perfection. It is regulated by several psychological and philosophical principles that play an emphasis on the distinctive and particular experiences that one has. It is portrayed as some abstract concept of "human nature," a compendium of categorical imperatives or precepts that govern individuals and their approach to life. The disorderliness of a human's qualities, the incompleteness of their thinking, and their flaws are fundamental to who they are. In terms of human entropy, the state of disorder and uncertainty always exists in an individual, which helps them to stabilize and adapt themselves to changing circumstances both inside and outside of them. The quest for perfection is therefore pointless because it reflects an internal burden that is sewn into the fabric of tension, anxiety, panic, and mental collapse and, in the end, calls into question an individual's fundamental identity. This fruitless endeavour in seeking the best puts a person's control over their life and being into doubt. Human aspirations result in human desperation, according to Karnad's interpretation of Hayavadana. The narrative's characters travel a path from exquisite imagining to terrible reality here. Therefore, it is revealed that the search for perfection is meaningless since it draws attention to one's difficulties, sorrows, responses, and powerlessness, which makes one feel absurd in the end. With the help of this research article, an attempt has been made to comprehend the aesthetics of Wabi-sabi and delve deeper into its philosophy to understand the search for ‘beauty in imperfection’. Under the influence of this Japanese theory, it is evident that one must embrace human entropy and stabilise within their dimensions.

Evaluating Patriarchy in Select Works of Mahesh Dattani, Girish Karnad and Vijay Tendulkar

Abstract: This research paper critically evaluates the theme of patriarchy in select works of three renowned Indian playwrights: Mahesh Dattani, Vijay Tendulkar, and Girish Karnad. Patriarchy, as a pervasive social system, influences power dynamics, gender roles, and relationships within societies. The objective of this study is to analyze how these playwrights explore the manifestations and consequences of patriarchy through their dramatic works. Through a comparative analysis of these playwrights' works, this study aims to highlight the diversity of approaches and perspectives in portraying patriarchy within Indian theatre. By evaluating patriarchy through the lens of these eminent playwrights, this research provides a deeper understanding of the social, cultural, and political factors that shape gender dynamics in contemporary Indian society.

Conflicts in Relationships with Respect to English Literature and Female Perspective

Abstract: Though the principle of gender equality is enshrined in the constitution of India, though the women are provided equal rights that of men, though the women are allowed to get education, though the women are considered one of the most important asset for the nation but still the questions that remain unanswered are how far does it matches the reality? How far women and their interests are kept in mind? Are their emotions even considered emotions or just considered and ignored as mood swings. In this paper we will study about conflicts in relationships in respect with english literature and female perspective. We will study about how feminism is included or excluded in the works of literature. Feminism is about women getting equal rights and opportunities as men without spoiling or dominating the rights of men. But though there are so many measures taken to promote feminism in a positive way still we come across novels, poems, dramas and so that somehow creates false image of women and portrays women as an inferior character therefore we will study in detail the role of women in famous works of english literature mainly in the play Hayavadana by Girish Karnad and the play Twelfth Night by William Shakespeare. Hayavadana is a typical Indian play that hold various themes wherein we will be focusing on women as an object and Twelfth Night on the other hand is a western play, also having various themes but the key theme will be patriarchal dominance over female emotions leading to relationship conflicts. We are aiming to study that how sometimes literature set gender roles and promotes gender inequality and women inferiority. Ultimately this portrayal leads to certain other issues that women find offensive. It leads to self doubts and under confidence in women. As women are shown sensitive and powerless in the books of literature the society starts to accept her as inferior and dependent and this leads to conflicts and problems between women and society, women and family, the downfall and abuse in the relationship and so on

ISSUES OF GENDER BAISED, CASTE, HEREDITY, RELIGION AND SEX IN THE PLAYS OF GIRISH KARNAD: A CRITICAL ANALYSIS

Girish Karnad was one of the most prominent and celebrated figures in Indian drama. He was an actor, playwright, and director, whose contribution to Indian theatre was immense. Karnad's plays were deeply rooted in Indian history and mythology, and dealt with issues such as identity, language, and cultural conflict. His works were widely performed and admired not only in India, but also internationally. Karnad's contribution to Indian drama can be seen in his numerous awards and accolades throughout his career, including the Padma Shri, Padma Bhushan, and Jnanpith Award, considered the highest literary honour in India. His plays, such as Yayati, Tughlaq, and Hayavadana, are regarded as modern classics of Indian theatre. Girish Karnad, the renowned Indian playwright, has addressed various social, cultural, and political issues in his works. While caste, heredity, religion, and sex are themes that occasionally appear in his plays, it is important to note that Karnad’s works are not limited to these topics. He explores a wide range of subjects and uses them as a means to reflect upon the complexities of Indian society and human nature. Here are some instances where these themes are present in Karnad’s plays. Karnad excelled in multiple fields, including theater, cinema, and literature. He was an accomplished playwright, having written numerous plays in Kannada, his native language, as well as in English. Some of his notable plays include Tughlaq, Hayavadana, and Nagamandala. He also acted in films and directed critically acclaimed movies like Vamsha Vriksha and Utsav.

Dalit aspects in the plays of Bohie Bhimmana and Girish Karnad: A Comparison

Girish Karnad , a genius, one of the most prominent English play-wrights. Bohie Bhimanna hails from Andhra Pradesh. Karnad from Karnataka, while both writers exposed contemporary social and political issues in their plays. They highlighted the darker aspects of life so as to revolutionize and reform the men and manners of the people. Both writers tried to voice the hardships, emotions, and feelings of the poor, down trodden and subjugated people in their works.

Exploring Mythic Archetypes and Cultural Identity in the Plays of Girish Karnad

Girish Karnad, a visionary playwright and cultural icon, intricately weaves mythic archetypes into his theatrical narratives, reflecting the profound relationship between mythology, cultural identity, and contemporary human experiences. This study endeavors to delve into the plays of Girish Karnad, unveiling the archetype-driven structures that shape his theatrical works. By analyzing these archetypal narratives, the research aims to illuminate the deeper cultural and psychological implications they hold. The study commences by introducing the concept of mythic archetypes and their role in literature and theatre. It then focuses on a selection of Girish Karnad's plays, each drawing from ancient Indian mythology and folklore. By conducting a meticulous analysis of characters, plot structures, symbols, and themes, the study aims to identify recurring archetypes such as the hero's journey, the trickster, and the wise sage. Through the lens of archetype-driven narratives, the research aims to unravel the connection between mythic storytelling and the exploration of cultural identity. Karnad's plays often transcend time and place, tapping into universal human experiences while remaining grounded in their Indian context. By examining how these archetypal narratives resonate with both Indian and global audiences, the study illuminates how mythology serves as a bridge between tradition and modernity.

The collection of conspiracies: A critical study of Karnad’s Tughlaq

Tughlaq (1964) as celebrated historical play or play on history, ever written by Girish Karnad is not, if seen through the spectacle of comparison, simply about history on the grounds that it is a play of a ruler psychologically challenged and broken down as far as his megalomaniac altitude is concerned that sets all things in rest letting the country sink and drown in the ocean of blood. This play highlights on one hand the witticism of a historical ruler and on the other hand his foolishness that wipes away all his wits. In it the issues like beguiling, trust and distrust, faith and doubt, kill and crush, do or die, etc. are different profiles of the theme that one happens to encounter with. Rise and fall lies always with human dignity since nothing remains in permanence or nothing withstands the vicissitudes of time. However, the goodness of a man must accept both as a test to his specially velour and resilience and failing so is unnatural and so long one is obstinate, faces decline till death. This is what happens actually in the plot of the play with the ruler to such an extent that after close destruction his wits fail to reconstruct the lost and unfortunately the restoration of social fiber proves to be a never resolved conundrum. People are often found saying admonishingly about politics as a dirty game in which Hell swallows up all Heaven. In the play this common sense of the commons proves a reality undenied. In it one finds cozenage, dacoity, ruthlessness, scapegoating the innocents, human treachery and disloyalty at their apex, imposture and hoodwinking through masks are interesting aspects in the play for their role in hiding and exposing the ugly selves behind the humanly faces. This paper shall be an effort to highlight and explain the series of intrigues and conspiracies made in search of power and dominance. As such, this play under the title aforementioned shall be examined through cultural studies to analyse how power after all decides the structures and sub-structures of society. More prominently, this effort shall work under the impact of Marxist ideology.

Thematic Concern and Technical Features in Karnad’s Tale-Danda

Girish Karnad, a writer, explores Kalyan-Kranti's last days in his play Tale-danda. Girish hopes to draw attention to the divisions in Indian society and government. The centuries-old societal problem of caste is given the attention it deserves. Sharana's effort to outlaw it was brought to life. The plot revolves on the unconventional union of a Brahmin bride and a Cobbler groom. The failed marriage and its aftermath highlight the crude nature of the caste system. Sovidev's political plotting against his own father, Bijjal, is emblematic of the universal lust for power. Karnad brilliantly illustrates the social and political tensions of modern civilization by merging these two subjects.

Finding the Voice of Indian Urbanity – Through the Selected Texts of Girish Karnad and Mahesh Dattani

In the present paper, I have endeavored to review the development of Indian English theatre since 20th century to emphasize the common themes and dilemmas that the Indian playwrights writing in English had to deal with special reference to the process of assimilation of Indian themes with the Western genre. The focus is upon analyzing the text from a post-colonial perspective. The aim is to show the manifestation of hybrid cultures in the urban areas as have been successfully represented by the Indian dramas by Girish Karnad and Mahesh Dattani.

Parallel Interplay between Tradition and Folk Theatre: A Study of select works of Vijay Tendulkar

Folk theatre is the root of modern Indian drama, and with the advancement of modernity, folk theatre keeps balancing the dynamic aspect of modernity. Most of India's well-known playwrights overcame the limitations of regional language throughout the 1970s and produced a number of excellent plays on a national scale. The majority of their experimental productions were focused on incorporating Indian folk theatre components or performance traditions into mainstream theatre. As a result, we see Utpal Dutt using Jatra in Surya Sikar and Girish Karnad adopting Yakshagna, a traditional type of theatre, in his play Hayavadana (1972). In order to create a new type of theatre that he called the "Third Theatre" or "Street Theatre", Badal Sircar experimented with incorporating folk elements into proscenium theatres. Similar to his contemporaries, Vijay Tendulkar also experimented with many types of folk drama in Ghasiram Kotwal (1972) and other plays. The current study is an integrated effort to concentrate on how tradition and modernity are portrayed in Vijay Tendulkar's plays. Another way to put it is that modernity has economic, social, cultural, and political ramifications. A cultural driving force with social, economic, and political ramifications is tradition. Vijay Tendulkar explores both conventional and contemporary tendencies in his plays through folk theatre. In his plays, he combines elements of heritage and modernism. They are entangled with both modernity and tradition. One may easily notice Tendulkar's keen observation of life in his plays . He strikes a delicate balance between tradition and contemporary in expressing the social realities . The purpose of this article is try to understand how Tendulkar employed various folk theatre styles to express power dynamics and the outcome of oppression, a very modern and postcolonial subject, on stage.

REVERSE TRANSFORMATION IN THE PLAY “HAYAVADANA” BY GIRISH KARNAD

Well Eminent and versatile writer Girish Karnad’s third popular play in English is Hayavadana. This paper deals with the reverse transformation of the humans in the journey of completeness. Human failed to retain their identity in search of completeness while the animal succeeded in regaining its identity. The central theme- The story of Devadatta and Kapila’ is based on the tale from the Kathasaritsagara. But the main theme is borrowed from Thomas Man’s –The Transposed Heads. The horse regained its full form with its neigh in the end of the story and thus achieved its completeness. On the other hand, the child retained its human smile and become a complete human-being. The Hayavadana was happy to become a full animal while the humans Kapila and Devadatta lost their lives without attaining their completeness. Padmini also unsatisfied with the end result and performed sati. Darwin’s theory says that humans are evolved from Animals. But in Hayavadana, the human attains the animal form in reverse transformation. The mother of Hayavadana loved the horse and got married to it. When he became a human being, she rejected to accept him. So she was cursed to become a horse. She was happy to lose her identity as a human and ready to become a horse. Her love for a horse made her a horse and thus she achieved her completeness. Hayavadhana wanted to attain its completeness whether it will be a horse or may be a human. At-last he became a complete horse but with a human voice. The son of Padmini exchanged his neigh with Hayavadana’s human voice. Thus the mother and her son Hayavadana achieved completeness in reverse transformation by becoming a horse.

From Abuse to Apotheosis- Decoding The Trajectory of A Feminist Quest in Girish Karnad's Naga-mandala


 
 
 
 This paper attempts to explore the idea of womanhood and feminine sexuality as it appears in Girish Karnad's remarkable play Naga-Mandala and discuss how the central protagonist of the play Rani manages to achieve a state of social respectability but at the cost of her individuality as a woman. We will also try to trace her journey from a state of patriarchal neglect and abuse to her final apotheosis and try to interrogate how to be a woman in India is to straddle two different imprisonments- the image of a Goddess and the image of a slut. This paper will highlight how Rani too gets absorbed in the pantheistic iconography of a deified mortal and thus manages to cut across the confinements of patriarchy which for many women is still an elusive dream. But what remains our chief contention is how such an ideological and contrived politics of feminine appropriation as a figure of divinity tends to reinforce the idea of a woman as a benign entity heralding notions of virtue and purity that others are ideally expected to conform to. The trajectory of Rani's life and struggles against the conventions of patriarchy thus bring forth quintessential questions about feminine desires and sensuality which needs greater attention within the mainstream discourse of feminism.
 
 
 

AN EXISTENTIAL PREDICAMENT OF MODERN MAN IN GIRISH KARNAD’S HAYAVADANA

In the mid twentieth century the whole mankind had been passing through an unprecedented phase of despair, gloom and dreariness in life in the wake of the annihilating after effects of the two gruesome and devastating World Wars fought within a very brief interval of a bit more than merely two decades. The very existence of mankind seemed to be at stake and the self- complacent attitude towards the scientific progress proved to be merely an illusion like a mirage as the other side of the coin proved to be self-destructive, rather self-annihilating. This resulted into general pessimistic and cynic view towards life and the uncertain future of mankind. So a few European existentialist philosophers like Jean Paul Sartre and Albert Camus, Martin Heidegger made a deep impact on the intellectuals by their new philosophy about the absurdity and meaninglessness of human existence. According to the philosophy of existentialism, life and everything related to it was absurd. In fact, they were influenced by the existentialist philosophy of the early 19th century Danish philosopher Soren Kierkgaard, who is believed to be the precursor of existentialist philosophy in the modern times. Thus they nurtured the sense of futility and meaninglessness about life. It impelled human beings to introspect about the purpose and meaning of their existence. And it was a sort of quest for the self. Girish Karnad, due to his study of the western writers as a Rhodes scholar was highly influenced by the existentialist philosophy of the European philosophers like Jean Paul Sartre and Albert Camus. This Research paper is an endeavor to explore the theme of existentialism and search for self, for that matter, in Hayavadana.

Women Sensitiveness in Girish Karnad's the Fire and the Rain Hayavadana and Nagamandala

In traditional Indian society, women are ruthlessly deprived of the opportunity to express their true feelings publicly. In Girish Karnad's works, female characters constantly rebel against the traditional position of women in Indian society and try to find their own way. His works make fun of the unjust values ??of the patriarchal society, which does not care about women's feelings and regards women as only inferior people who are absolutely loyal to him. Call it Nagamandala, Hayavadana and The Fire and the Rain, all these elements are everything. The exploitation and oppression of women has become an established culture of male chauvinism, so his works represent a meeting point where women are portrayed as enlightened and liberated with resistance. Girish Karnad strives to overcome male dominance, hoping to raise awareness of how women are exploited and abused in the name of marriage. Karnad started her work to meet the challenge of resolving controversial issues. As for women, she has experience in discriminatory politics that supports gender and caste paradigms.

Decoding Caste and Power-Structure in Tendulkar’s Kanyadaan

Social structure is a power-structure where every social category reflects the power relations with other in hierarchy. Caste is one of the decisive derivatives in India to measure human relations. It is something which has defined the social hierarchy based on the birth of an individual. Caste has become the most striking method of discrimination of people in India with its maligned and fabricated interpretations. Indeed, it has been originated for distribution of people on the basis of their work for proper functioning of society. Vijay Tendulkar, a Marathi playwright and one of the founding pillars of Modern Indian Drama along with Mohan Rakesh, Badal Sircar and Girish Karnad, has discussed the problems of caste discrimination and general perspectives about inter-caste marriages in India in his play Kanyadaan. Through this play Vijay Tendulkar also tries to reflect his thoughts on contradictory relationship between imaginary idealism and harsh realism; and also on texture of modernity and social change in India through the marriage of two people of different castes and backgrounds. The present paper is an effort to analyse Tendulkar’s Kanyadaan, originally written in Marathi and later on translated into English, as social documentary on relationship between caste and social structure based on power-relations, caste-based discrimination, inter-caste marriage and pseudo-idealism prevalent in the course of social and cultural progress. The present paper also deals with decoding of the phenomenon of ‘violence’ employed in caste-based power relations in the society.

The stage in the page: analyzing the significance of the Nebentext in Girish Karnad’s play Hayavadana

ABSTRACT This essay uses Roman Ingarden’s concept of Nebentext to study the semiotic function of the textual stage directions in Girish Karnad’s play Hayavadana. Approaching the Nebentext as the signifier and the mind of the audience/reader as the space where the signified is formed, this essay will study the stage directions in Hayavadana to see as to how the play text can function as a medium to convey Karnad’s theatrical perception and suggest the performance potential of the play. It tries to unravel the technique by which Karnad creates scope for reader’s/audience’s participation thereby widening the role of the Nebentext.

IMPURE REVENGE, PURE SACRIFICE: A STUDY OF GIRISH KARNAD’S PLAY THE FIRE AND THE RAIN

This paper is an attempt to discuss the notions of revenge and sacrifice as depicted in Girish Karnad’s famous play The Fire and the Rain. The sacrifice is a major ceremony to appease gods in most of the religions all over the world. From ancient times this idea of sacrifice is prevalent. Even in pagan societies when religions were not developed in the sense we perceive today, then also humans practice offerings of animals and sometimes humans too to the supernatural power to please and to have blessings. Revenge is more of a psychological and emotional state that gets activated automatically and provides a strong drive in people who feel they have been wronged by another. Yavakri, Raibhaya, Parvasu, husband and brother of Nittilai are the characters in the play who are burning in the fire of revenge for various reasons. They think that they have been wronged and killing of their opponent is only the way to solve the problem. The death of Jesus on the cross has been considered as the greatest sacrifice. Jesus gave his life to clean the sins of society. Girish Karnad uses the mythological story from Mahabharata, in his play the Fire and the Rain to discuss the concepts of revenge and sacrifice in which the purity of Arvasu life and his sacrifice delivered the state from drought and there is Rain. The title is symbolic when rain stands for hope, life, flora and fauna, blessings, creation, radiation and rejuvenation and fire stands for purification something that is crude in us is to be burned out. Even fire also represents passion, hatred, jealousy, revenge and prejudice. Yavakri wants to take revenge, so he goes for the penance to get power to take revenge on his uncle Raibhaya. Parvasu left the fire sacrifice to remove his own father which is a threat to the fire ceremony he is performing. The brother and husband of Nittilai take revenge on her for running away by killing her.

REFLECTIONS ON ORTHODOXY VERSUS SOCIAL REFORMATION IN GIRISH KARNAD’S TALE-DANDA

Girish Karnad’s play Tale-Danda is a historical play that taps the modern issue of violence in relation to caste politics. India suffers massive loss of humanity because of caste system. The caste has been deep rooted in the psyche of Indian People from centuries; it has been hard boiled and solidified into that extent that even the social reforms from time to time by great and progressive people were not successful to eradicate it completely. The people in power play their favorite caste card to lure the voters. The more we try to wipe it out more strongly it adheres to us. Any attempt to annihilate caste leads to social unrest and violence. A play Tale-Danda depicts an incident in the life of Basvanna a 12th century social reformer and saint. He was the treasurer in the city of Kalyan under the Kingship of Bijjala. He started one God movement (Lingayat) to overcome discrimination on the basis of caste and gender in Hindu religion of his times, which attracts thousands of followers from the various strata of society, particularly untouchables as well as people of upper caste like Brahmin. Basvanna’s preaching brought drastic change in the outlook of his followers where they didn’t practice any discrimination of caste or religion. Even they decided to have inter-caste marriage. Which created drift in the society and initiated violence and burning of the city of Kalyan. Dr B R Ambedkar in his speech Annihilation of Caste, points out in minute details ills of caste system and the pathetic conditions of untouchables throughout the centuries because of the concept of Varnashram in Hindu religion

Philosophy of Spiritual Evolution in Karnad's Play Hayavadana

Girish Karnad, the “Renaissance Man” and an important proponent of the “Theatre of Roots” movement, rebelled against British influenced Indian drama. He had employed native traditional myth and legends into the themes of his plays and used folk theatre techniques for representational intent. His play Hayavadana delves into the Indian folk theatre elements to address the contemporary issues of the nature of identity and human being's quest for completeness through the perspective of philosophical riddle of mind and body dualism. The play explores the issue of mind-body dualism or conflict of incompleteness at three levels viz. divine, human and animal levels. With the example of transposed heads of the two main characters and the question of their real identity; the transformation of Hayavadana into a complete horse with ability to neigh; and the child's ride and control on the horse offer the multi-layered consciousness levels of the human understanding and psyche along with the possibility of intended spiritual evolution.

Diachronic approaches to mythology and Indian culture: Reading UR Ananthamurthy and Girish Karnad through the lens of monogenesis and polygenesis

Diachronic approaches to mythology and Indian culture: Reading UR Ananthamurthy and Girish Karnad through the lens of monogenesis and polygenesis