Theme Of Hayavadana

Another play in this series was Hayavadana which elevated women on a pedastal higher than that of the man. Its theme was borrowed from Kathasaritasagar, a collection of Sanskrit stories. It has a complicated, bizzare plot consisting of two close friends Devdatta and Kapila. It is based on a tale from Vetala Panchavimshika but Karnad borrowed it from Thomas Mann's Transposed Head. It is a play on the mad dance of incompleteness and a search for identity in a world of tangled relationships. Devdatta

the folktale. Karnad, in Hayavadana, goes a step further ahead. Through these folktales, Karnad deals with the problem of human identity in a world of tangled relationships, with the theme of incompleteness and man’s desire for perfection. He seemingly felt that incest was not vital to the theme of his play and like Mann does away with it. In an interview, Karnad says that he avoided the theme of incest because he wanted to write a comedy and the theme of incest would have been too grim

in English language has its base n the myth that has been passed on from generations. Like many Indian English writers writing in English Girish Karnad is of no exception. In his writings the mythological aspects echo throughout. His plays like ‘Hayavadana’, ‘The Fire and The Rplay hain’ and ‘Nagmandala’ are based on the myths but Karnad gives an approach to myth in a different way. His plays originate from the myths of Indian legends but in the course of the play hee insert some of the acts which

intra-religious conflicts as well. He has not prescribed any magical balm for the ills and evils of the society but makes us understand that the religion is not the right canons to judge a man in a multicultural society like India. Karnad begins Hayavadana with a Ganesh Pooja(a sacred offering to Ganesh). In several genres of Indian performance, including yakshagana, Ganesha is worshipped on –stage by performers and spectators. By opening his play with a Ganesh pooja, Karnad instantly locates his

the main theme of incompleteness by treating it on a different plane. The horse-man-s search for completeness ends comically, with his becoming a complete horse. The animal body triumphs over what is considered the best in man, the Uttamanga, the human head! After Hayavadana he produced five more plays Angumalige (1977), Hittina Hunja (1980), Naga Mandala (1988), Tale- Danda (1990) and Agni Mattu male (1995). Out of the eight plays he translated five plays into English. Tughlaq, Hayavadana, Naga-Mandala

articulate to myself a set of values that I had been unable to arrive at rationally”. (Introduction 3) Karnadbelives that he has no dramatic structure in his own tradition to which he can relate himself. That’s why in Yayati the language and the theme are Indian but from is drawn not from the Indian mythology but from the western playwrights whom he had read. Yayati was published in 1961. It is a retelling of the Hindu myth on the

The Man And The Writer Godugunuri Prasad Girish Karnad is one of the foremost playwrights of the contemporary Indian stage. He has given the Indian theatre a richness that could probably be equated only with his talents as an actor-director. His contribution goes beyond theatre: he has directed feature films, documentaries and television serials in Kannada, Hindi, and English and has played leading roles as an

Godugunuri Prasad The Man and The Writer Girish Karnad is one of the foremost playwrights of the contemporary Indian stage. He has given the Indian theatre a richness that could probably be equated only with his talents as an actor-director. His contribution goes beyond theatre: he has directed feature films, documentaries and television serials in Kannada, Hindi, and English and has played leading roles as an actor in Hindi

The play is a monologue based on the legend of Veeranna who belongs to the chitradurga region of Karnataka. Before its theatrical effectiveness in the play the legend is incorporated from Kannada writer, T.R. Subbanna’s (Knows as TaRaSu) novel, Hamsageethe (Swan Song) Published in 1952. The title of the novel literally means the ‘swan song’ of the protagonist, Venkatasubbayya whom Subbanna inserts in the tale of Veeranna, the archaka of the Hidambeshwara temple. About the legend narrated in Subbanna’s