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Need an account? Click here to sign up. Download Free PDF. A short summary of this paper. Karnad was keen observer of Indian wearing her blouse and this exchange of blouse by Society and he is successful to provide a realistic picture of mistake leads to a quarrel which converts into a fight the corrupted souls of Indian Society.
You Indian Society, Corrupted Souls only have to get into piece of arya attire. And you start fantasizing. Yayati , the first literary attempt of Karnad, reinterprets an ancient myth from. For Yayati, the film, see Yayathi.
Based on this construct, the playwright dissects and lays bare the psyche and inner recesses of karnsd human mind. Drama is the oldest literary art which is meant for stage and action. Views Read Edit View history. There are several yyati compared to the narrative in the Mahabharata, but that is not relevant for this review. Books by Girish Karnad. For example, when Sharmishta tells Devayani that Yayati is not lusting for his wife, but for the secret of immortality that Shukracharya has.
Wherever he hurled as Shami stick, he performed as sacrifice. Open Preview See a Problem? I love the way he reworks the story of Yayati from Mahabharata, the way a simple story reveals so much about human nature, the way each of the characters enacts or experiences various forms of karand violence at the hands of those closest to them. He had also vanquished the Asuras many times. Lists with This Book. There are no discussion topics on this book yet.
The panorama of Indian English drama is bound by history, lineage, folklore and mythology. All these aspects link the theatre to the past and are highly significant as they serve as the roots and soil; nourishing and sustaining the Indian mind.
Owing to the legacy of the British regime and the western education, the twentieth century Indian English drama becomes a blend of the east and the west.
All these playwrights enrich the contemporary society delving deep into the myth and history of Indian culture. Among these well-known dramatists Girish Karnad is a versatile writer who has not only contributed a lot to the Indian English Drama but has also shown his ability as an actor, director, poet, script writer and translator. The various dramatists mentioned above have made sporadic efforts to amalgamate the eastern and western tradition of theatre. The present paper is an endeavour to illustrate the impact of western dramatic principles over contemporary Indian English drama.
For this we have analyzed the waves of Aristotelian concept of dramaturgy, its evidential opposition by a German playwright Bertolt Brecht and finally his idea of Epic theatre and non-Aristotelian approach practiced by a popular Indian English playwright Girish Karnad in his plays Hayavadna and Yayati.
His theories remained unchallenged with respect to the creation and production of a play. It must essentially have a certain magnitude and leave a cathartic effect on the audience, purging the emotions of pity and fear. Being a rationalist Brecht, combined the past theatrical traditions and arrived at the concept of theatre of alienation. He successfully adopted the Brechtian dramaturgy in his plays.
A playwright needs a living theatre to put his work on acid test, evaluate its total effect on the audience and thereby get a chance to improve upon his performance. The Indian tale poses a moral problem but the Western ideology considered by Mann depicts the human body as a fit instrument for the fulfillment of human destiny. Juxtaposing the Western influence on the Indian mythology Karnad mentions that even the transposition of heads will not liberate the protagonists from their natural psychological demands.
For Karnad, the confusion of the identities reveals the ambiguous nature of the human personality which goes in accordance with the Brechtian theory of identity crisis. The two protagonists in Hayavadna - Devdatta with an intellectual mind and Kapila with a robust physique suffer from deformity and incompleteness. Agony strikes Kapila and makes him to think about the dissatisfaction and in human life. This proves to be an urgent relevance to present day thinking about man and his world.
This story gets resolved when the half horse, half man which goes by the dictates of the supremacy of head over body turns entirely into a horse. He is born to a Karnataka princess and is sired by an Arabian horse-and obvious trope for land and lady.
It is thus for Hayavadna horse headed man ; to find solution to his predicament. Since God does not enable him to overcome it, he rushes on stage to the Bhagavata.
It is here that the dramatist brings the case to court so the audience can judge it. Brecht wanted to distance or alienate his audience from the character and the action; in the play Hayavadna, Karnad also aimed to make certain distance emotionally from the characters and the action on stage, so that the audience could be able to reach such an intellectual level of understanding.
In this process while alienated emotionally from the action and the characters, the audience would be empowered on an intellectual level both to analyze and perhaps even to try to change the world, which was Brecht's social and political goal as a playwright and the driving force behind his dramaturgy. He is the connecting link to introduce the other characters and action in the play and a sort of vehicle to reveal the deepest thought of a major character.
Please have some tea ponder over this situation and come back with your solutions. We shall continue with our enquiry. Karnad has borrowed the myth from great Indian epic Mahabharata and other Puranas.
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