In Tale-Danda Karnad breathed a different kind of life into the poetic texts and historical events by developing a dramatic structure that would ‘explain’ the relation of poetry and religious mysitism to political economy and social radicalism and in the english version of the play he incorporated a generous selection of old and new translations of the vachanas by Ramanujan. The Fire and the Rain was originally written in kannada [Agni mattu Male (1995)] but rendered immediately into english for a workshop with professional actors at the Guthrie, and the entire process of change and revision took place in English. In this play Karnad reimagines the world of Hindu antiquity and constructs a story of passion, loss and sacrifice in the contexts
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A Heap of Broken Images (2004) deals with a Kannada woman writer who unexpectedly produces an international bestseller in english. Kannada translation of Broken Images (Odakalu Bimba), received simultaneous Kannada and English productions in Bangalore in 2005, both directed by Karnad in association with K.M. Chaitanya. In Wedding Album (2009) Karnad diverges from his usual devices of myth and history and explores cultural stereotypes in the wake of modernity. The play Wedding Album, presents the pride and prejudice of a middle class Saraswat South Indian family, where the young members in their exposure to materialism, globalism, fascination for progressivism and with the effect of neo-colonialism are uprooted from their culture. His latest play is Benda Kalu on Toast. This title is a reference to the founding myth of Bangalore, in which an 11th century King was saved by an old woman who offered boiled beans. The grateful King offered to name the spot ‘Bendakalooru’, which over time became …show more content…
His contribution goes beyond theatre: he has directed feature films, documentaries, and television serials. He represented India in foreign lands as an emissary of art & culture. He has experimented with the fusion of the traditional and modern dramatic forms and content. The purpose of using traditional forms is to achieve a rare insight into the contemporary reality because Karnad believes that complexities of post colonialism are inherited from that the colonial and pre-colonial times. Unlike Badal Sircar and Vijay Tendulkar who delve into the problems of middle-class society, Girish Karnad, goes back to myths and legends with a view to making them a vehicle of a new vision. Contemporaneity in Karnad’s plays manifests itself through his operative sensibility in his attempt to give new meaning to the past from the vantage point of the present. Karnad’s plays reveal a healthy tension between tradition and the contemproraeity. His plays have been directed by eminent directors like Ebrahim Alkazi, B.V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur and Satyadev
A Heap of Broken Images (2004) deals with a Kannada woman writer who unexpectedly produces an international bestseller in english. Kannada translation of Broken Images (Odakalu Bimba), received simultaneous Kannada and English productions in Bangalore in 2005, both directed by Karnad in association with K.M. Chaitanya. In Wedding Album (2009) Karnad diverges from his usual devices of myth and history and explores cultural stereotypes in the wake of modernity. The play Wedding Album, presents the pride and prejudice of a middle class Saraswat South Indian family, where the young members in their exposure to materialism, globalism, fascination for progressivism and with the effect of neo-colonialism are uprooted from their culture. His latest play is Benda Kalu on Toast. This title is a reference to the founding myth of Bangalore, in which an 11th century King was saved by an old woman who offered boiled beans. The grateful King offered to name the spot ‘Bendakalooru’, which over time became …show more content…
His contribution goes beyond theatre: he has directed feature films, documentaries, and television serials. He represented India in foreign lands as an emissary of art & culture. He has experimented with the fusion of the traditional and modern dramatic forms and content. The purpose of using traditional forms is to achieve a rare insight into the contemporary reality because Karnad believes that complexities of post colonialism are inherited from that the colonial and pre-colonial times. Unlike Badal Sircar and Vijay Tendulkar who delve into the problems of middle-class society, Girish Karnad, goes back to myths and legends with a view to making them a vehicle of a new vision. Contemporaneity in Karnad’s plays manifests itself through his operative sensibility in his attempt to give new meaning to the past from the vantage point of the present. Karnad’s plays reveal a healthy tension between tradition and the contemproraeity. His plays have been directed by eminent directors like Ebrahim Alkazi, B.V. Karanth, Alyque Padamsee, Prasanna, Arvind Gaur and Satyadev