Girish Karnad (1938-2019)

Girish Karnad has produced an unforgettable mark on the history of modern Indian dramaturgy as a playwright. He was deeply immersed in his homeland’s cultural past while also comprehending Western theatrical aesthetics and skill. His two plays, “Tughlaq” and “Hayavadana”, contributed to revolutionizing drama’s form and content.
Karnad is perhaps the first modern Indian playwright whose works have been played and studied with significant attention overseas. As a public intellectual and writer, he spoke on worldwide stages on Indian cultural ethos and theatre. Originally written in Kannada, “Tughlaq” was originally produced in English in Mumbai before being translated into Hindustani by the National School of Drama under the leadership of E. Alkazi. It then emerged on the Kannada stage. Karnad and his works are revered by Delhi theaters and theater practitioners are intrigued by the notion of performing his plays, particularly “Tughlaq”.
Hayavadana (1972)
“Hayavadana” has been presented several times by eminent directors such as B.V. Karanth and Satyadev Dubey. Incorporating folk themes, it depicts a strange realm where dolls talk, and Goddess Kali makes a mistake that causes issues that are impossible to resolve.
There is a figure that is half-horse and half-human, as well as a youngster who is loud. All of these intricate scenarios are intertwined into a metaphor that symbolizes a woman’s struggle while leaving the battle between body and mind unsatisfied.
Naga-Mandala (1990)
“Naga mandala” is one of Karnad’s plays that has been seen by a Delhi audience on multiple occasions. The Structure of “Nagamandala” is difficult to identify, despite its captivating nature.
It features a primary narrative and a sub-plot, as well as some mystery components, such as Rani’s love relationship with a snake, which is overlooked by her husband, who puts her under lock and key. Then there’s the elderly blind woman and her son. Yakshini takes away a blind woman’s son. Last year, an amateur group from Dehradun brought Nagmandala to Delhi which mesmerized the audience with its emphasis on the serpent, Rani’s true lover and her savior.
Karnad expected filmmakers to be faithful to the playwright’s work. Prasanna revised some of the original plays when directing his play “Agni and Barkha” at the National School of Drama a few years back. When this was brought to Karnad’s attention, he raised a strong complaint about the editing of his script. This sparked a discussion concerning the director-playwright connection. However, the situation was fixed when NSD reintroduced the original script in later productions.
Dreams of Tipu Sultan (1997)
The play is based on the real narrative of Tipu Sultan, who battled against British rule in India. The play is based on the following historical occurrence about the monarch Tipu Sultan and his hate for the British.
The English battled four Anglo-Mysore wars against Tipu Sultan to Conquer him and take control of the Mysore empire because Tipu, unlike the Nizams and Marathas, refused to surrender to British desires.
The British began operations against Srirangapatna in early 1792 A.D. The English army marched on the fort and got an insight into it on February 6, 1792 A.D. The operations began the same night, and the English pushed Tipu’s army to the fort, capturing the island save for the fort. Tipu, helpless, suggested the peace settlement and agreed to Lord Cornwallis’ conditions.
They signed the contract on February 23, 1792 A.D. According to the deal, Tipu pledged to give half of his land to the English and pay the English three crore thirty lakh rupees as war damage. Because he couldn’t pay the full indemnity, he agreed to send his second and third sons, Abdul Khaliq and Maiz-Uddin, ages 10 and 8, as hostages until he could pay the war indemnity. After two years, he paid the remaining and received his sons in Devanahalli in 1794 A.D.
Tipu Sultan sends ambassadors to Persia, France, and Afghanistan after the Third Mysore War to seek assistance in defeating the English. He also made touch with Napoleon Bonaparte. Because of his failure against the English, he agreed to assist Tipu fight the English, but he couldn’t fulfill his promise. Along with Afghanistan, he planned a holy war against the English. This was halted due to Wellesley’s timely response.
In light of Tipu Sultan’s methods, Wellesley wrote Tipu Sultan a letter on November 8, 1798 A.D., alleging that Tipu was working against the Srirangapatna Treaty. He also urged that the issues be resolved via conversation. Tipu shook off Wellesley’s ideas. As a result, the English declared war on Tipu Sultan.
After murdering Tipu Sultan in the Fourth Mysore War, the English conquered Srirangpatna on May 4, 1799 A.D.
In his play “Dreams of Tipu Sultan” Girish Karnad incorporates the historical event with a dream interpretation to depict Tipu Sultan’s demise, leaving the interpretations to the readers and the audience.