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    Assignment:-Girish Karnad As A Post Independence Indian Playwright

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    Leelu Bhu
    Girish Karnad is an influential Indian playwright, actor, director and scholar who has made significant contributions to Indian literature and theatre. He is most famous as a playwright, writing plays in Kannada that have been widely translated. Some of his most notable plays include Tughlaq, Hayavadana, and Naga-Mandala. Karnad's plays often draw from Indian myths and folktales to explore contemporary social and political issues affecting post-independence India. He has helped establish modern Indian drama and enrich Indian English literature through his prolific playwriting career spanning decades.

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    Assignment:-Girish Karnad As A Post Independence Indian Playwright

    Uploaded by

    Leelu Bhu
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    Girish Karnad is an influential Indian playwright, actor, director and scholar who has made significant contributions to Indian literature and theatre. He is most famous as a playwright, writing plays in Kannada that have been widely translated. Some of his most notable plays include Tughlaq, Hayavadana, and Naga-Mandala. Karnad's plays often draw from Indian myths and folktales to explore contemporary social and political issues affecting post-independence India. He has helped establish modern Indian drama and enrich Indian English literature through his prolific playwriting career spanning decades.

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    Girish Karnad is an influential Indian playwright, actor, director and scholar who has made significant contributions to Indian literature and theatre. He is most famous as a playwright, writing plays in Kannada that have been widely translated. Some of his most notable plays include Tughlaq, Hayavadana, and Naga-Mandala. Karnad's plays often draw from Indian myths and folktales to explore contemporary social and political issues affecting post-independence India. He has helped establish modern Indian drama and enrich Indian English literature through his prolific playwriting career spanning decades.

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    729 views3 pages

    Assignment:-Girish Karnad As A Post Independence Indian Playwright

    Uploaded by

    Leelu Bhu
    Girish Karnad is an influential Indian playwright, actor, director and scholar who has made significant contributions to Indian literature and theatre. He is most famous as a playwright, writing plays in Kannada that have been widely translated. Some of his most notable plays include Tughlaq, Hayavadana, and Naga-Mandala. Karnad's plays often draw from Indian myths and folktales to explore contemporary social and political issues affecting post-independence India. He has helped establish modern Indian drama and enrich Indian English literature through his prolific playwriting career spanning decades.

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    Name Tushar Mohan

    Class- MA

    Sem-3

    ExamRoll-20414ENG102

    ClassRoll-106

    Submitted to - Prof. Devender Kumar

    Assignment:-
    Girish Karnad as a post independence
    Indian Playwright:-

    Introduction
    Girish Raghunath Karnad is a playwright, poet, actor, director, critic, translator and cultural
    administrator all rolled into one.
    He has been rightly called the “renaissance man” (Kalidas & Merchant.”Renaissance Man”);
    whose celebrity is based on decades of prolific and consistent output on native soil. He
    belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay
    Tendulker who have created a national theatre for modern India which is the legacy of his
    generation. Karnad is the most famous as a playwright.
    His plays written in Kannad have been widely translated into English and all major Indian
    languages. Karnad’s plays are written neither in English, except few, in which he dreamed of
    earning international literary fame, nor in his mother tongue Konkani. Instead they are
    composed in his adopted language Kannad thereafter translated by himself into English a
    language of adulthood. Karnad’s practice of drawing source from myths and tales lends the play
    an immediacy of appeal.
    Another important fact is that since the audiences are familiar with the theme they curiously
    watch or read the play, to know
    the perception and focus handled by the dramatist.
    Girish Raghunath Karnad stands as one of the most important figure of post independence
    Indian English literature whose place have been translated not only into English but into various
    regional languages like Assamese, Hindi and Bengali etc. Karnad is also the pioneer of modern
    drama in Kannada just as Tendulkar did for Marathi and Mohan Rakesh for Hindi theatre.
    Karnad has been awarded with Padma Shri and Padma Bhushan by the government of India.
    He was awarded with the Jnanpith award for Kannada literature.
    Karnad rise as a playwright in 1960, marked the coming of age of modern Indian playwright in
    Kannada.He wanted to be a poet, but he was destined to be a playwright. Karnad plays are
    characterized by myths, legends and folktales and history is not only for literature purpose but
    also as a surrogate to portray the contemporary situations. in order to attain deeper inside to
    study and analyse kannad's plays it would not be incongruos to discuss how he has employed
    myths,legend and history in his plays.Tughlaq is a 1964 Indian Kannada language play about a
    rashly Idealist 14th century Sultan of Delhi Muhammad bin tughluq and allegory on the
    Nehruvian era which started with ambitious idealism and ended up in disillusionment this
    stablished karna TNAU 26 years old as a promising play right in the country most famously it
    was staged at Purana Qila, Delhi in 1972. The Times of India comments:

    "Ambedkar in the play the protagonist is portrayed as having great idea


    and the grand vision but his reign was an abject failure.he started his role
    with great ideas of a unified India, but his degenerated into anarchy and his
    Kingdom".

    'Hayavadana is the third successful and brilliant drama of Girish Karnad


    written in 1975. it is a memorable treatment of the theme of search for
    completeness.The main plot of the play is a judicious blend of a folktale
    from somodeva's Kathasaristgara Thomas mann's long short story the
    transposed head.

    'Naga- Mandala'was published in 1990 .originally it was written in Kannada and later the
    dramatic trance created it into English. it is significant to note the title of playtex not after any
    human character but after a snake Naagrani the heroine of the play who is humiliated and
    derided as hard lot before the village elders undertake the snake ordeal like Sita who undergoes
    the fire ordeal and like Sita she comes out unscathed. Naga-mandala,a simple but surgical tale,
    celebrates quality from women's point of view.
    The theatre subsequently commissioned him to write the play Agni Mattu male( the fire and the
    rain).Though before it came to Taledansa(death by beheading 1990) which used the backdrop
    the rise of Veerashaiviam, medical protest and reform movement in 12th century Karnataka to
    bring out current issues.
    In the dramas of Girish Karnad, Myth is not merely a ritual or structural device. it is a means of
    exploring a modern outcome of a traditional situation karna does not imply the myths in their
    entirely the pics of traits of legends and folk tales that he finds useful adds his imagination to
    construct the plot to displace .The technique of bringing together myths, legends, and folk
    narratives in his forte.He has contributed a lot to enrich Indian English through play text,
    performance, acting and direction.

    Conclusion:-
    Thus to conclude we can say that the emergence of Girish Karnad plays, there have been a
    revival in the interest of drama in English has not only gained much population in India but also
    has gained international recognition.indeed karnad's art can be interpreted as a vision of reality.
    This is the effect of postcolonialism.karnad's plays provided a picture of women in the post
    colonial society .so Karnad is India's best play wright,whose journey from Yayati to boiled
    beans on toast holds a mirror to the very evolution of a truly Indian theatre.

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