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Articles de revues sur le sujet « GIRISH KARNAD »

Auteur : Grafiati

Publié le 18 mai 2024

Mis à jour le 25 juillet 2025

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1

Saxena, Ritu. "Girish Karnad : A Tribute." Dialogue: A Journal Devoted to Literary Appreciation 15, no. 1-2 (2019): 1–4. http://dx.doi.org/10.30949/dajdtla.v14i1-2.1.

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Girish Karnad is a writer, dramatist, director and actor par excellence. He belongs to a generation that has produced Dharamveer Bharati, Mohan Rakesh and Vijay Tendulkar who have created a national theatre for modern India, which is the legacy of his generation. Jnanpitha Awardee, Karnad is the author of many well known plays in Kannada and English. He has represented Indian art and culture in foreign lands. Girish Karnad was a conscious writer, who had keenly observed cultural and political upheavals in India and brings in a new equation in his plays. In this paper, I propose to analyze the

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P.R., Shivakumara. "CONTRIBUTION OF GIRISH KARNAD TO KANNADA LITERATURE-A STUDY." Shanlax International Journal of Arts, Science and Humanities 6, S2 (2019): 236–43. https://doi.org/10.5281/zenodo.7664470.

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<em>Girish Karnad, the eminent playwright, acknowledges to Apama Dharwadker, in these words, his skill of writing. Karnad belongs to that generation of writers who were the first to come of age in post-independent India. At that time, the country was facing tensions between the cultural and colonial past, Western thoughts and its own traditions. This historical context gave rise to Karnad’s plays and those of his contemporaries. His plays hold a mirror unto life and show a relevance of the past to the present, the subject matter resonating in modem experience and relating itself to prese

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R.Rajeswari and E.Geethapriya. "The Dramatic Technique Symbolism in Girish Karnad's Tughlaq." Shanlax International Journal of English 7, no. 1 (2019): 30–32. https://doi.org/10.5281/zenodo.3451752.

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This paper is an attempt to study Girish Karnad’s Tughlaq as a history play. Tughlag is a play of many wonderful facts. A countless evidence of Karnad’s dramatic achievement in Tughlaq is its immediate success and its secret lies in the techniques employed by playwright. It is immensely serious and also entertaining. It is the result of a magni cent effort of both intellectual energy and poetic imagination. It is full of pathos and sympathy. In order to produce such effects in the theatre  Karnad, very skillfully employed various devices like spectacle, quick shift of scenes,

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Dr., Anshu Teotia, and Vrinda Sawhney Ms. "History Myths and Society in Girish Karnad's Plays: A Study." International Journal of Trends in English Language and Literature (IJTELL) 2, no. 2 (2024): 10–13. https://doi.org/10.5281/zenodo.13283901.

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Girish Karnad is well known modernIndian Playwright and is considered oneof the foremost outstanding practitionersof the humanistic discipline. He had actedin movies, directed and produced movies,documentaries, and TVserials in Kannada,Hindi, and English. This dissertation maybe a modest plan to study Girish Karnadas a contemporary Indian Dramatist.Girish Karnad is one of the fashionableplaywrights who experimented with dramaand created a replacement wave to Indiandrama history. He is not only a Kannadaplaywright but also an acclaimed Indianwriter who had a distinctive voice in theliterary sce

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Dr., Anshu Teotia, and Vrinda Sawhney Ms. "History Myths and Society in Girish Karnad's Plays: A Study." History Myths and Society in Girish Karnad's Plays: A Study 2, no. 2 (2024): 10–13. https://doi.org/10.53413/IJTELL.2021.2203.

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Girish Karnad is well known modernIndian Playwright and is considered oneof the foremost outstanding practitionersof the humanistic discipline. He had actedin movies, directed and produced movies,documentaries, and TVserials in Kannada,Hindi, and English. This dissertation maybe a modest plan to study Girish Karnadas a contemporary Indian Dramatist.Girish Karnad is one of the fashionableplaywrights who experimented with dramaand created a replacement wave to Indiandrama history. He is not only a Kannadaplaywright but also an acclaimed Indianwriter who had a distinctive voice in theliterary sce

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J., Priya, and Anuradha K. "Self-Awakening of The Psyche in Girish Karnad's Yayati." Shanlax International Journal of English 7, S1 (2019): 29–32. https://doi.org/10.5281/zenodo.3461749.

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Girish Karnad is one of the most prominent Indian dramatists of contemporary  Indian Drama. His plays are truly a critique of modern Indian society but his major aim is the exploitation of human relationships and psychology. What is unique about Karnad is his use of history and myth, the juxtaposition of the past and present and various innovations that he has brought into modern Indian Drama. Girish Karnad reworks on the actual myth and adds contemporary attachments with it. Karnad modifies the myth in a way to suit his own plot. And this myth was transformed to reflect the contemporary

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., Dr Manju Singh. "Girish Karnad “Yayati”: The Cultural Values." International Journal for Research in Applied Sciences and Biotechnology 6, no. 1 (2019): 4–5. http://dx.doi.org/10.31033/ijrasb.6.1.2.

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Mrityunjoy Mondal. "Masking and Unmasking: A Study of Girish Karnad’s The Fire and the Rain." Creative Launcher 5, no. 5 (2020): 145–53. http://dx.doi.org/10.53032/tcl.2020.5.5.19.

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Girish Karnad was a versatile genius. He was a prolific Kannada writer, a brilliant playwright, a fantastic actor, a talented film director and a meritorious scholar. His long stay in Europe has confirmed him that the Western theatre has nothing to provide him. Therefore, in search of a new mode of expression, he has used ancient Indian myths and history to represent the contemporary issues. The Fire and the Rain is one of the most successful drama of Karnad. In this drama, Karnad has made a brilliant and innovative use of mask. In Indian dramatic culture, masks were used frequently to represe

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Shashi, Kumar P., and Sanjeeva Raja N. "Girish Karnad's Evolutionary Impact on Indian Cinema: A Comprehensive Study." AKSHARASURYA 05, no. 01 (2024): 96 to 103. https://doi.org/10.5281/zenodo.13870902.

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Girish Karnad, a luminary in Indian cinema, has left an indelible mark on the industry through his multifaceted contributions as an actor, playwright, director, and cultural commentator. This abstract delves into the evolutionary impact of Karnad’s work on Indian cinema, presenting a comprehensive study of his enduring influence.  Karnad’s journey began in the 1960s, where he pioneered a shift in the Indian cinematic landscape by blending traditional storytelling with contemporary themes. As a playwright, his works like “Tughlaq” and “Hayavadana” introd

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Manju, Manju, and Dr Nempal Singh. "Thematic Concern and Technical Features in Karnad’s Tale-Danda." International Journal of Teaching, Learning and Education 2, no. 4 (2023): 8–14. http://dx.doi.org/10.22161/ijtle.2.4.2.

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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 illu

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Dr. Uzma Khanam. "Contrast between Rani and Padmini in Girish Karnad’s Female Characters." Creative Launcher 5, no. 5 (2020): 50–53. http://dx.doi.org/10.53032/tcl.2020.5.5.06.

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Girish Karnad has the persona of giving his characters an air of freedom. The characters of his plays are mostly liberated from the pro-social norms or at-least tried their best to get that air. In every play we can find that kind of character very easily, especially in the female characters. This is the most distinct feature of Karnad, of giving the female characters, the lead in his plots. But still there is an exceptional case in this scenario too. The main focus of this paper is to picture the two contrasting female characters of Karnad i.e. Rani’s character from Naga-Mandala and Padmini’s

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Sadhu, Maun, and Yesha Bhatt. "Exploring Urban Dynamics: Setting in Girish Karnad's Dramatic Universe." RESEARCH REVIEW International Journal of Multidisciplinary 9, no. 2 (2024): 88–95. http://dx.doi.org/10.31305/rrijm.2024.v09.n02.009.

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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

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Saxena, Ruchi, and Dr Anshu Raj Purohit. "Feminist concern of Girish Karnad Novel: Nagamandala." International Journal of Multidisciplinary Research Configuration 1, no. 4 (2021): 41–44. http://dx.doi.org/10.52984/ijomrc1406.

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This present paper attempts to critically analyse the selected novel of Girish Karnad _Nagamandala. Girish Karnad, as a dramatist, is free from any such feminist tags and like Shashi Deshpande, an Indian woman novelist, treats ‘woman as a woman’ and as ‘a human being’. As a male feminist, he has treated the feminist issues like child marriage, loveless marriage, exploitation of wife in the hands of husband, double standards of society and law operating against her in the society etc. It also expresses the hollowness and injustice of patriarchal society. He insists that it is not patriarchy but

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Dr. G.A Ghanshyam. "Submissive To Assertive: Metamorphosis of Rani In Karnad’s Nagamandala." Creative Saplings 2, no. 1 (2009): 27–36. http://dx.doi.org/10.56062/gtrs.2009.2.1.58.

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Beginning in the early nineteenth century, Indian English Drama has walked a gruelling path to the present, where it has received a breath of fresh air and life from emerging dramatists such as Asif Currimbhoy, Girish Karnad, Vijay Tendulkar, Mahesh Dattani, and others. Girish Karnad is a name that many people regard among this new generation of playwrights. He is a well-known playwright as well as a critically acclaimed film actor. Karnad began his writing career with Yayati and has since written a number of thought-provoking and symbolist plays steeped in myth and local culture. Nagamandala

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Anshuman, Anshuman. "Unraveling the Complexities of Power: Girish Karnad's <i>Tughlaq</i> and the Interplay of History, Politics, and Faith." Journal of Advances and Scholarly Researches in Allied Education 16, no. 1 (2019): 1845–50. https://doi.org/10.29070/nk130711.

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This research paper treats Girish Karnad's' Tughlaq' as a chronicled play. Tughlaq' by Girish Karnad is a great playwright in Indian English. The play centers around the chronicled character of Muhammad Tughlaq in the fourteenth century. In the play, Karnad manages the history of that time. He was extremely impressed by Tughlaq's story. The play is profoundly mind-boggling and can very easily be seen and interpreted from a range of points of view. Tughlaq is clearly a chronicled play with a mixture of truth and fiction in his account. Karnad looked deeply at the facts associated with Muhammad

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Kalaivani, Dr C. "Girish Karnad’s Yayati and Hayavadana: A Mythical Experiment." International Journal of English Literature and Social Sciences 9, no. 5 (2024): 001–5. http://dx.doi.org/10.22161/ijels.95.1.

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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 cultu

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Reddy, G. Kiran Kumar, and Paul Krupakar. "Dalit aspects in the plays of Bohie Bhimmana and Girish Karnad: A Comparison." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 023–25. http://dx.doi.org/10.22161/ijels.83.3.

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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.

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J.Priya and K.Anuradha. "Restricted Woman in Girish Karnad's Naga-Mandala." Shanlax International Journal of English 7, no. 1 (2019): 37–39. https://doi.org/10.5281/zenodo.3269033.

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Girish Karnad has emerged as a living legend in contemporary Indian English Drama. The male dominance is apparent in all the plays of Girish Karnad. In his plays the women characters became pawns in the games that the male characters play and are relegated to background. In ‘Nagamandala’ he not only exposes male chauvinism, the oppression of women, the great injustice done to them by men and patriarchal culture but also stealthily de ates the story of Rani. In the Indian tradition, the woman is forced to love her husband even though he is not to be her aspiration. Appanna visits R

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Patra, Mintu. "FEMALE IDENTITY IN THE PLAYS OF GIRISH KARNAD." Journal of English Language and Literature 09, no. 01 (2022): 137–41. http://dx.doi.org/10.54513/joell.2022.9115.

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Feminists have taken a renewed interest in studying the earlier texts of women writers and interpreting them in new ways to determine how women's writings share commonalities with male writing and how much they are part of it. Feminist writers primarily focus on women's perspectives and expressions about their own lives. In the current era of postcolonial literature, women have become the focal point of debate, not only in India but also in Western countries. Amartya Sen mentions two main reasons for gender inequality in his book "more than 100 million women are missing." The first is cultural

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Rashmi, Rashmi, and Dr Brij Govind. "Exploring Mythic Archetypes and Cultural Identity in the Plays of Girish Karnad." International Journal of Language, Literature and Culture 3, no. 4 (2023): 25–28. http://dx.doi.org/10.22161/ijllc.3.4.4.

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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 lit

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Warda, Wahaj Unnisa, and Mohammad Rezaul Karim. "The Visions of a Visionary—Girish Karnard’s Play The Dreams of Tipu Sultan." World Journal of English Language 14, no. 4 (2024): 41. http://dx.doi.org/10.5430/wjel.v14n4p41.

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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 throug

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1, S.Sathyabarathi, and P.Kanimozhi 2. "Tipu's Modernity in Girish Karnad's The Dreams of Tipu Sultan." Literary Druid 2, no. 1 (2020): 27. https://doi.org/10.5281/zenodo.3606682.

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The Dreams of Tipu Sultan is relevant to contemporary India where internal dissensions in almost all national issues and the presence of terrorists are disturbing nation harmony and peace. Hence, the paper unfolds the sense of modernity employed by Karnad to portray Tipu.  

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Dr., C. Chellappan. "The Legacy of Girish Karnad and Renaissance of Indian Arts and Literature." Literary Druid 5, no. 4 (2023): 1–7. https://doi.org/10.5281/zenodo.10515034.

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<em>Girish Karnad, the revered Indian playwright, actor, and director, left an indelible mark on the world of arts and literature. His recent demise has sparked widespread discussions about his contributions and the cultural renaissance he spearheaded in India. Karnad was a literary genius who used his creative prowess to challenge societal norms, highlight the struggles faced by the marginalized, and revive the rich cultural heritage of India. His works continue to inspire a new generation of artists and ignite a renaissance in Indian arts and literature. This article explores the legacy of G

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Vyas, Sandhya Dushyantkumar. "Wedding album: Drama of social realism by Girish Karnad." International Journal of Research in English 6, no. 2 (2024): 505–7. https://doi.org/10.33545/26648717.2024.v6.i2h.276.

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Shashi, Kumar P*, and N. Sanjeeva Raja** Prof. "The Cinematic Legacy of Girish Karnad: A Comprehensive Analysis." International Journal of Academic Research 11, no. 2 (2024): 44–49. https://doi.org/10.5281/zenodo.13377968.

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<strong>Abstract : </strong>Dr. Girish Karnad's legacy as a playwright, filmmaker, and social thinker reflects a distinctive blend of Indian cultural values and Western influences, tackling contemporary social and political issues. This study aims to bridge the research gap in understanding Karnad's cinematic achievements and their relevance to Journalism and Mass Communication. Despite his widely acknowledged contributions, comprehensive research on Karnad's multifaceted personality and vision remains limited. This study focuses on his roles as a writer, actor, and director, his advocacy for

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G. Yadagiri. "ISSUES OF GENDER BAISED, CASTE, HEREDITY, RELIGION AND SEX IN THE PLAYS OF GIRISH KARNAD: A CRITICAL ANALYSIS." Journal of English Language and Literature 10, no. 02 (2023): 61–64. http://dx.doi.org/10.54513/joell.2023.10206.

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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

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Khan, Amara. "Vision of Gender in Girish Karnad's Hayavadana: Functions of Multiplexed Corporal Masks." Global Social Sciences Review VI, no. I (2021): 148–57. http://dx.doi.org/10.31703/gssr.2021(vi-i).15.

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Through the integration of the local Yakshagana and the western Brechtian Epic theatre practices, Girish Karnad through Hayavadana (1971) has formed a brilliant theatre show. One theatrical device, apart from the folk-theatre motifs, is the utilization of physical masks on stage. The reading examines different techniques used by Karnad, which provide the staging of masks successful in theatre. It furthermore focuses on the objectives, techniques, and types of mask treatment in expressions of disguise and revelation at the physical level. The purpose of this exploration is to make a complete st

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R, Joze Rubika, and Yamuna Devi A. "The Animorgas the Tool for the Sub Version of Gender Norms in Nagamandala : A Posthuman Analysis." Shanlax International Journal of Arts, Science and Humanities 12, S1 (2024): 57–62. https://doi.org/10.34293/sijash.v12is1.8335.

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“Mythology is a subjective truth. Every culture imagines life in a specific way,” says Devdutt Patanaik. Mythology refers to the study of various collections of myth, which basically comprises oral narratives of people trying to explain the phenomenon of their natural surroundings, which might also include some supernatural beings. There are various mythological traditions across the world. And these myths vary according to the subjective truths. Myths form the basis of many cultures and religions. And these myths fascinate writers so much that they try to include those mythological elements i

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Patra, Mintu. "POWER POLITICS IN GIRISH KARNAD’S HAYAVADANA AND TUGHLAQ." JOURNAL OF ENGLISH LANGUAGE AND LITERATURE 10, no. 04 (2023): 17–21. http://dx.doi.org/10.54513/joell.2023.10404.

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Through the centuries, Indian drama has been one of the means of discovering how a human being can achieve an optimal human existence–cultural, social, political, material, and spiritual. The staging of patriotic plays in modern Indian theatre boosted operative energy in the freedom movement. The spirit of liberty provided significant impetus to the revival of various forms of performing arts. After independence, Karnad, along with other playwrights such as Vijay Tendulkar, Mohan Rakesh, and Badal Sircar, conducted 101 theatrical and thematic experiments in order to free individuals from the s

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Marghany, Ishraq Abd El Aziz Mohammad. "The Use of Myth in Selected Plays by Girish Karnad." مجلة الآداب والعلوم الإنسانیة 91, no. 5 (2020): 1148–60. http://dx.doi.org/10.21608/fjhj.2020.132902.

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Shaik, Rafi, and Dr Pankaj Kumar K. "REALITY AS MORAL DISCOVERY IN THE PLAYS OF GIRISH KARNAD." Research Journal of English 05, no. 02 (2021): 26–36. http://dx.doi.org/10.36993/rjoe.2020.2636.

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Sanap, Sarala Kisan. "The Impact of Indian Mythology and Folklore in Indian English Drama: A Study of Girish Karnad's Works." International Journal for Social Studies 10, no. 1 (2024): 83–88. https://doi.org/10.5281/zenodo.14167953.

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<em>Indian English drama has grown into a vibrant literary tradition, often drawing upon the cultural, historical, and mythological traditions of India. One of the foremost dramatists in this tradition is Girish Karnad, whose works blend the complexities of modern theatrical forms with the richness of Indian mythology and folklore. This paper examines the impact of Indian mythology and folklore on Karnad's plays, focusing on how he incorporates traditional myths, stories, and cultural motifs into his plays to explore contemporary concerns. Through a close reading of some of his most prominent

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R., Kalaiselvi Dr. H. Marie Evangeline. "UNDERSTANDING THE POSTCOLONIAL MIND: A STUDY OF SELECT PLAY OF GIRISH KARNAD's THE FIRE AND THE RAIN." International Journal of Advance and Applied Research 2, no. 20 (2022): 74–76. https://doi.org/10.5281/zenodo.7049483.

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<strong><em>Abstract         </em></strong> <em>The present paper is an attempt to highlight Girish Karnad’s plays with the concept of post-colonial perspective and towards the struggle in life. Karnad is the most powerful playwright of the contemporary era. Karnad has a very strong ‘passion” for the theatrical art. He longs to present multi-colored Indian life and sensibility. Significantly, the responses of colonized (particularly those ones colonized by Britain) in forms to narratives, poetics, dramatics, treatises and dialectics on the i

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Kariya, Disha. "Rasa Analysis of Girish Karnad's Hayavadana." Vidhyayana 9, si1 (2023): 17–27. http://dx.doi.org/10.58213/vidhyayana.v9isi1.1577.

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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

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Shukla, Sudhir Krishna, Rashi Srivastava, and Kum Kum Ray. "Translating Land into Stage: Observations on the Patterns and Presentations in Girish Karnad’s ‘Hayavadana’ and ‘Nagamandala’." International Journal of English Literature and Social Sciences 9, no. 2 (2024): 218–26. http://dx.doi.org/10.22161/ijels.92.32.

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This research paper examines the patterns and presentations in Girish Karnad’s major plays. Girish Raghunath Karnad (19 May 1938-10 June 2019) was the foremost Kannada playwright of India. In addition to writing plays, he was also an actor, film director, and a Jnanpith awardee, who dominated in the fields of Hindi, Kannada, Tamil, Malayalam, Telugu, and Marathi films. His ascent to prominence as a playwright in the 1960s signaled the advent of contemporary Indian playwriting in Kannada as Badal Sarkar, Vijay Tendulkar, and Mohan Rakesh did in Bengali, Marathi, and Hindi respectively. He used

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Kalidasan, R., and R. K. Jaishree Karthiga. "Girish Karnad's Hayavadana - A Setting for Sacred and Profane." Shanlax International Journal of English 7, no. 4 (2019): 57–61. http://dx.doi.org/10.34293/english.v7i4.599.

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Hayavadana, a multiplex play, offers various binary themes for discussion. By combining the indigenous Yakshagana and the western Brechtian Epic theatre practices, Girish Karnad has created a unique theatre display, presenting it as a social and religious satire that point to the persistent pursuit of the humanity to achieve perfection. The plot and the sub-plot of the play get interlocked by raising questions on identity and the nature of reality. The dramatist intentionally effects a dynamic communication between the audience and the performance, noting that the audience too are not separate

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Nouman, Abdullah, and Vibha Sharma. "Unbecoming of a unified religion: A Foucauldian reading of Girish Karnad’s Tale-danda and the Lingayat plight." Indian Theatre Journal 8, no. 1 (2024): 59–73. http://dx.doi.org/10.1386/itj_00039_1.

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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, Karna

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Sharma, Sanjay Prasad. "Symbolism and Political Allegory in Girish Karnad’s Tughlaq: A Study of Parallelism Between History and Modernity." Creative Launcher 10, no. 2 (2025): 251–56. https://doi.org/10.53032/tcl.2025.10.2.28.

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Girish Karnad’s Tughlaq is a compelling historical play that reimagines the tumultuous reign of Muhammad bin Tughlaq, a 14th-century Sultan of Delhi, through a modern political lens. Karnad’s fascination with Tughlaq arises from the ruler’s paradoxical personality—an idealist plagued by political failure—which provides a fertile ground for exploring themes of leadership, disillusionment, and power. This article examines how Karnad employs symbolism and parallelism to construct a narrative that is at once historical and profoundly contemporary. The character of Tughlaq, with his utopian aspirat

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Fatima, Sadaf. "Finding the Voice of Indian Urbanity – Through the Selected Texts of Girish Karnad and Mahesh Dattani." International Journal of English Literature and Social Sciences 8, no. 4 (2023): 132–38. http://dx.doi.org/10.22161/ijels.84.23.

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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.

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Rakesh, Patel. "The Dichotomy of Body and Soul in Girish Karnad's Hayavadana: A Study of Padmini's Psychic Turmoil." RUMINATIONS (A Peer-Reviewed Bi-Annual International Journal for Analysis and Research in Humanities and Social Sciences) 4 (December 5, 2013): 120–21. https://doi.org/10.5281/zenodo.4563646.

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The main plot of the play Hayavadana is based on 'the story of transported heads' in the Sanskrit Vetala Panchavimsati. What adds charm to the play is Karnad's own treatment with the old theme and as a result what we see is the life-like characters that we come across daily life.

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Senthil Kumar.S and Puthiyarasu.P. "Women in the Drama of Girish Karnad With Reference Yayati & Hayavadana." INTERNATIONAL JOURNAL OF SCIENCE TECHNOLOGY AND HUMANITIES 2, no. 2 (2015): 55–58. http://dx.doi.org/10.26524/ijsth55.

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Drama constitutes an integral part of any civilized society. It is true that the dramatic instinct is quite universal. The theatre whether in the sacred or the secular from has never failed holds its powerful appeal to men. Undeniably every nation and every race has its own dramatic history. Drama as the best from of literary composition mirrors the social, political and cultural history of a people and him characteristic nature of the genius of any nation cannot be fully comprehended and appreciated without its study.

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Arya, Kavita. "Karnad's Yayati : A Study in the Eternal Conflicts of Mankind." Dialogue: A Journal Devoted to Literary Appreciation 15, no. 1-2 (2019): 23–29. http://dx.doi.org/10.30949/dajdtla.v14i1-2.4.

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With Vijay Tendulkar and Badal Sirkar, Girish Karnad is among the three greatest dramatists of post-independent Indian theatre. His most notable plays are Yayati, Nag-Mandala, Hayavadan and The Fire and the Rain. Yayati, his first play, was written initially in Kannad in 1961. For this play he received the Karnatak State award. Karnad was not a simple entertainer. His plays serve to instruct, entertain and enlighten, but there is also a purpose. Through his plays he tries to give his audience an exalted sense of duty with happiness, peace of mind and upliftment of moral values. In Karnad's vie

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Priya Saxena. "Integrated Relationship between Language, Literature and Society in the Work of Girish Karnad." Creative Launcher 5, no. 3 (2020): 257–65. http://dx.doi.org/10.53032/tcl.2020.5.3.33.

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Language, literature and society evolve parallel to each other and often at a similar pace. Integration of the three is taken up as a challenge by penmen of all ages. Language is the tool a writer with the objective of exploring, observing and presenting the narratives about sociological issues in delectable form depends upon. Authors and scholars have always strived to capture audiences across the world with enchanting subjects and prodigious treatments. Some of them drew inspiration from ancient scriptures and folklore and presented their narratives in the contemporary forms and styles, whil

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Singh, Aditya. "Evaluating Patriarchy in Select Works of Mahesh Dattani, Girish Karnad and Vijay Tendulkar." International Journal for Research in Applied Science and Engineering Technology 11, no. 5 (2023): 5169–75. http://dx.doi.org/10.22214/ijraset.2023.52412.

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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

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Ghosh, Subho. "Switching Heads and Cultures: Transformation of an Indian Myth into the Quest of Identity Crisis in Girish Karnad’s Hayavadana." Praxis International Journal of Social Science and Literature 6, no. 8 (2023): 89–95. http://dx.doi.org/10.51879/pijssl/060810.

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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 Th

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Kumawat, Deepa. "Impact of Brechtian theory on Girish Karnad: An Analysis of Hayavadana and Yayati." IOSR Journal Of Humanities And Social Science 16, no. 5 (2013): 76–80. http://dx.doi.org/10.9790/0837-1657680.

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Kumar L., Rajesh, and S. Nithyasri. "AN EXAMINATION OF EMPOWERMENT AND PSYCHOLOGICAL DEPTH IN GIRISH KARNADS NAGAMANDALA DRAMA." International Journal of Advanced Research 12, no. 12 (2024): 1105–9. https://doi.org/10.21474/ijar01/20119.

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Girish Karnad is an Indian actor, film director, Kannada writer, playwright, and Jnanpith award recipient who has appeared in films in Kannada, Hindi, Tamil, Telugu, Malayalam, and Marathi. His career has revolved around his predominant work, which has earned him widespread recognition as one of the most gifted actors in India.Indian literature is written in English and has a largely diverse tradition, which reflects the countrys diverse history, culture, and language. Indian literature written in English was initiated during the British colonial era. Social reform and colonial rule were often

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Dr. V.S. Bindhu, Mousoomi Aslam A. ,. "The Psychological Deterioration of Characters and Elements of Myth in Girish Karnad’s Play Yayati." Psychology and Education Journal 58, no. 1 (2021): 4479–84. http://dx.doi.org/10.17762/pae.v58i1.1538.

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This paper attempts to study the psychological degeneration of characters and the presence of mythical elements in the play Yayati. Karnad traverses through unfathomable depths of old Indian mythology to make the social and cultural problems that reflects the traditional Indian society. He portrays a modern context of characters by the amalgamation of symbols. His plays are usually found very close to common people with a very realistic approach towards the issues of humans. He used not only myths to frame the plot but also to pinpoint the human psyche and cultural practices in the society. He

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Singh, Dr Nidhi. "A study of Girish Karnad as an indo-western playwright with special reference to ‘Hayavadana’." International Journal of Research in English 6, no. 2 (2024): 298–300. http://dx.doi.org/10.33545/26648717.2024.v6.i2e.243.

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MAHADEVAN, A. "Switching Heads and Cultures: Transformation of an Indian Myth by Thomas Mann and Girish Karnad." Comparative Literature 54, no. 1 (2002): 23–41. http://dx.doi.org/10.1215/-54-1-23.

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