Research Scholar

English

Jiwaji University

 Gwalior, M.P., India 

Professor

English

K.R.G. College

Gwalior, M.P., India

Abstract

This research paper aims to examine the fusion of traditional and modern elements in Girish Karnad's select works. Karnad was a renowned Indian playwright and actor; he is known for blending traditional themes with contemporary Indian storytelling techniques. Through a comprehensive analysis of his plays, including Yayati, Hayavadana, Nagamangala, Bali: The Sacrifice, and Flower. This study aims to explore how Karnad successfully combines modern ideas and techniques with ancient Indian myth and cultural elements. The paper investigates the playwright's experiments on traditional folktales to present new ideas for the Gen Z generation. Karnad has explored various tales from classics to define the modernity of Indian tradition. By examining the fusion of modern and traditional elements in Karnad's works, this paper contributes to the scholarly understanding of contemporary Indian theatre and highlights the significance of cultural fusion in the realm of dramatic literature. Karnad is flooring a new path to traditional tales by revitalizing his themes. In addition to reinventing traditional tales, Karnad also sheds light on societal issues such as male chauvinism, identity crisis, and religious and social hypocrisy.

Keywords: Mythological, Folk theatre, Contemporary, Individuality, Universalistic.

Girish Karnad was a prominent Indian playwright, performer, and film director.  As a master of language, He made contributions to contemporary Indian theatre and was one of the most popular playwrights of the modern era. Karnad's works often explored complex themes such as myth, history, and identity crisis, in his works amalgamating of traditional Indian storytelling with modern sensibilities. Girish Karnad transcribed several acclaimed plays throughout his career. Some of his notable works include:  Tughlaq, The Fire and the Rain, Tale-Dande, Broken Images and Wedding Album. These plays showcase Karnad's incredible storytelling prowess and his capacity to tackle diverse themes ranging from mythology and history to social issues and personal identity. In his work Karnad not only delivers myths with new vision but also raised social issues by his plays which demonstrate his mastery of observation of society and deep understanding of human psychology. His plays have multilayered interpretations with global significance. Karnad's impactful career spanned several decades and earned him numerous awards, including India's highest literary honour, the Jnanpith Award. His work continues to inspire and influence Indian theatre and literature.

Girish Karnad works are based traditional folktales. By ancient tales means it refers to something that has been passed down or carried out over time, often associated with customs, practices, or beliefs that are long-established in a particular culture or society. It typically implies a sense of continuity and adherence to established norms or traditions. "Traditional" can be used to describe various aspects of life, such as traditional clothing, cuisine, music, ceremonies, or traditional values. It signifies a connection to the past and represents the preservation of cultural heritage. Karnad shows ancient Bharath with modern Indian vision, this perception of Karnad made different from other playwrights. In words of Tuntun Mukherjee “In Karnad’s plays, the worlds of reality and fantasy or illusion meet in such a way that poetry is created. To echo what was said about Genet’s work, Karnad’s plays represent the junction point at which “dream is simultaneously reality where the invisible coincides with the visible, where the object is both itself and the revelation of something non-itself” (P17)

Karnad is well-known for incorporating mythological themes and characters into his works, drawing inspiration from Indian mythology and folklore. One of his most acclaimed plays, his plays are borrowed from sources of mythological plays. These foundations include Indian epics like The Mahabharata, The Ramayana, and various regional mythological folk stories, literary works that delve into mythological themes and characters, historical events and figures, religious texts like the Puranas, Vedas, or scriptures of different faiths, as well as contemporary ideas and social commentary. It is worth noting that the specific sources and inspirations for each play may vary, and playwrights often bring their own creative interpretations and perspectives to the mythological material. 

Karnad's works abound in a myriad of Indian themes and vernacular words. They showcase native culture and customs. Although Karnad's plays have a great impact on ancient Indian literary heritage, he manages to make his themes universal by addressing rising social issues that exist globally. His plays are well-structured, with a proper beginning, middle, and closure. He has created ingenious characters with noble thoughts. The language of his plays is simple and aphoristic, combining local, regional, and modern words. Karnad's idea of playwriting is to give Indian heritage a fresh and universal identity.

Modern Indian playwrights turned their attention to a culture-specific genre that embraced modernity. This shift marked a revival of "folk theatre," which had been marginalized during the colonial era. As a result, these dramatists prioritized performance over text-based Western dramaturgy. Seeking inspiration from their cultural heritage, scholars and playwrights turned to authoritative texts on Indian theatrical traditions. Theatre of Roots. In this movement, both folk theatre and the principles outlined in the Natyashastra played a pivotal role, shaping the trajectory of Indian theatre in a culturally rich and informed manner.

The impact of Girish Karnad's select works lies in his remarkable ability to seamlessly integrate traditional and contemporary elements. By combining elements from classical Indian theatre with innovative storytelling techniques and contemporary themes, Karnad creates a dynamic and thought-provoking theatrical experience. His plays, Tughlaq and Hayavadana explore complex human emotions and societal issues, transcending cultural boundaries and resonating with audiences across generations. Karnad's fusion of traditional and modern elements has contributed significantly to the evolution of Indian theatre, bridging the gap between the past and the present, and enriching the artistic landscape with his unique narratives.

Karnad has given new aspect to literature and experimented with many themes. He was not only followed myths in his plays but also added modern approach to generate fresh ideas. In Yayati, he shows how a man's desires can destroy everything. Similarly, in Hayavadana, he portrays Padmini, an ambitious woman who brings turmoil to his companies’ life in search of completeness. Karnad has provided equal opportunities to his male and female characters in his writing. Similarly, in Bali: The Sacrifice, both queens have a powerful stage impact in comparison to the king. The old queen reflects traditional values, while the young queen symbolizes a modern group approach. This play also depicts the struggles of the generation gap. Bali: The Sacrifice is a play that skilfully blends traditional and modern elements. In his next play, Flower, Karnad not only experimented with the theme but also with dramatic techniques. This play is a monologue of a priest who, in the flow of desires, compromises traditional values. Later, in expiation, he sacrifices his life, silently questioning the cultural values that overpower our lives. Through his following plays, Karnad attempts to present Traditional ideas in a relevant context, Karnad tries to explore the maximum aspects of life. The first play of Karnad utilizes the Yayati myth borrowed from The Mahabharata's Parva. King Yayati was a powerful ruler and the ancestor of the Pandavas. According to the story, Yayati was cursed with premature old age but was later granted youth in exchange for his son's youth. Yayati desires pleasure and power, which ultimately led to his tragic flaw. At the end of the play, he returns his son's youth and opts for the path of salvation.

In another play, The Hayavadana, Karnad based it on Thomas Mann's mock-heroic epic, "The Transposed Heads," which was adapted from a tale from Vetalapan Chavimshika. The story influences mythology and serves as the foundation for Karnad's renowned play. The Hayavadana explores themes of identity, desire, and the eternal quest for completeness. In Mann's retelling of The Transposed Heads, Karnad includes a subplot and incorporates Yakshagana. This play depicts the crisis of human identity in tangled relationships. It is important to understand the sources of the play, such as Thomas Mann's story and the variant in Vetal Panchavimshati, before analyzing the issues and mythological aspects of Hayavadana.It is a tale that explores themes of identity, love, and the complexities of human nature. In the myth, there are three central characters: Devadatta, Kapila, and Padmini. Devadatta is a scholar known for his intelligence, Kapila is a warrior known for his physical strength and Padmini is a beautiful and virtuous woman loved by both Devadatta and Kapila. The conflict arises when Kapila and Devadatta become great friends, but each feels inadequate in one aspect: Kapila believes he lacks intelligence, while Devadatta believes he lacks physical strength. In their quest to overcome their perceived deficiencies, they come across a horse's head, which grants them their wishes. Kapila, longing for intelligence, attaches the horse's head to his body, while Devadatta, yearning for physical strength, attaches the horse's body to his head. However, this exchange of body parts leads to a complex love triangle, as Padmini finds herself torn between the two transformed individuals. The combination of humour and pathos with appropriate symbolism describe the psychic state of Padmini. The theme of the play and the names of the characters are all symbolic.

Karnad makes use of various innovative experiments to offer a new direction to modern theatre. The theme of identity crisis offers an adequate scope for his imagination. Karnad also portrays the predicament of Padmini, a modern and bold woman. She is torn between two polarities, a woman who loves her husband as well as his friend for two different aspects of their personalities. After the exchange of heads, Padmini experiences the best of both men but slowly she comprehends reality. There is no spirituality in her love except a mere passion for physical pleasure. Commenting on Padmini’s desire for Kapila, Satish Kumar points out, “Padmini lives for herself; for the satiation of her sensuality” (30). Her effort to find completeness in her lover has become a futile struggle. Finally, she learns the ultimate truth that it is impossible to find perfection since the world is full of incomplete individuals. In the same way, the Goddess makes Hayavadana, horse-headed man, a complete horse instead of a complete man. The myth delves into themes of the nature of completeness, the limitations of physical and intellectual attributes, and the elusive pursuit of perfection. It serves as a reflection on the intricate nature of human desires and the consequences that arise from trying to fulfil them. In this drama Karnad made his theme’s foundation on traditional myth on other hand Pamini female character’s ambitious nature and seeking wholeness shows modernity in playwright’s attitude. Karnad well utilizes contemporary approach of woman who did not give up on her desires for sake of society and obligation. Padmini never left her individuality. According to K. R. Srinivasa Iyengar, Karnad is “modern and the conventions and   motifs of folk art and curtains to project a world of intensities, uncertainties and unpredictable denouement” (736). In their quest to overcome their perceived deficiencies, they come across a horse's head, which grants them their wishes. Kapila, longing for intelligence, attaches the horse's head to his body, while Devadatta, yearning for physical strength, attaches the horse's body to his head. However, this exchange of body parts leads to a complex love triangle, as Padmini finds herself torn between the two transformed individuals.

Karnad’s next play was Naga-Mandala, the drama is based on folk tales of Karnataka. The German version of his play Naga-Mandala was performed in 1992. It won the 'Karnataka Sahitya Academy Award'. Theme of play combining an oral tale with internal reality withing gender hierarchy, the play explores themes of desire, repression, identity, and the power of storytelling. The play orbits around various themes modernity, societal restrictions, and the power dynamics within relationships. Naga-Mandala explores the conflict between tradition and progress, as well as the liberation and empowerment of women in a changing society. It delves into the complexities of human desires and the consequences of suppressing them, presenting a modern perspective on love, desire, and societal norms. In this play, Rani is the female protagonist, which shows Karnad's liberal approach. On one hand, he took inspiration of play from traditional folk tales; on the other side, he made a female as a leading character, which proves that his works are a fusion of traditional and modern approach. “Man defines woman not in herself but as relative to him; she is not regarded as an autonomous being . . . she is the incidental, the inessential as opposed to the essential. He is the subject; he is the absolute—she is the other” (16).

Bali: The Sacrifice is an English translation of the Kannada play Hittina Hunja India is a land of diversity and amalgamations of various regions like Hinduism, Islam, Sikhism, Christianity, Judaism, Buddhism, and Jainism. The human community has established an institution known as Religion, which works as a guiding power channelizing the constructive energy of human minds. Every religion has its own principles, practices, and ideologies. This play is based on the Indian myth of the Cock of dough, which represents religious social systems and customs that have both constriction and orthodoxy. Hinduism and Jainism have different ideologies, with Hinduism sometimes justifying momentary inhumanity for the welfare of humanity, while Jainism adheres to non-violence ideology, not sustaining any violence at any price. The theme of the play revolves around the concept of sacrifice and its consequences. In the play, the main character Bali undertakes a sacrificial ritual, but it leads to unforeseen outcomes and challenges. The play explores the complexities and implications of sacrifice, questioning its purpose and the moral dilemmas it presents.

Flower: A Dramatic Monologue is a glass image of his modern insight. As a literary person, he has re-searched literary myths, which shows his creative intellect. This play upgrades him as a dramatic artist. As an experiment, he uses an unnamed protagonist and an introspective confessional narrative, which is also known as a monologue. Karnad has explored two different kinds of human emotions in one frame: sexuality and spirituality, which are oxymorons to each other. The storyline of Flower is borrowed from a regional folk-tale from the Chitradurga region of the Indian state Karnataka. Karnad has taken inspiration from the legend of Veeranna, the archaka of the Hidambeshwara temple. A well-known critic, Aparna Dharwadker, in the introduction of the play, elaborates upon the source from where the drama's plot has been derived. The legend of Veeranna on which the plot of the story is constructed later became widespread when Kannada writer added it in his swan song novel Hamsageethe, which means "song of swan." This play by Karnad is not only a retelling of myth but also gives a new style of writing. In this drama whole storyline revolve around Priest, Shivalinga and Rangnayaka. These characters show traditionality and modernity of Indian culture. Priest is following traditional occupation but his desires for aesthetic shows modern glimpse. By this point Karnad justifies paper’s title.

Girish Karnad's plays recycles a rich tapestry of cultural fusion within the realm of dramatic literature. Karnad skilfully blends elements from various cultures, including Indian mythology, folklore, history, and contemporary society, to create narratives that resonate with diverse audiences. His works explore themes of cultural identity, tradition, modernity, and the collision between different belief systems. By incorporating multiple cultural influences, Karnad's plays celebrate diversity and promote a deeper understanding of the nuances and complexities of human experiences. Karnad’s plays are combination of universalistic and individualistic elements. He has rejuvenation of ancient themes. He has enriched the Indian literary scene by his contribution to art, culture, theatre and drama” (Dhawan 19).

Reference

1. Ananthamurti, U. R. Introduction to Tughlaq. Madras: Oxford UP, 1972. Beauvoir, Simone de. The Second Sex. Trans. Constance Borde and Sheila Malovancy Chevalier. London: Vintage, 1997. 16.
2. Dhawan, R. K. “Girish Karnad: The Man and the Writer,” The Plays of Girish Karnad: Critical Perspectives. Ed. Jaydip Singh Dodiya. New Delhi: Prestige Books, 1999. 19, Iyengar, Srinivasa K. R. Indian Writing in English. Rpt. New Delhi: Sterling Publishers Pvt., 1989.736.
3. Karnad, Girish, Collected Plays Volume One, Oxford University Press, New Delhi
4. Karnad, Girish, Collected Plays Volume two, Oxford University Press, New Delhi
5. Karnad, Girish, Girish Karnad’ s Plays Performance and Critical Perspectives, Tuntun Mukherjee D.K Fine Art Press Ltd, New Delhi 2000