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GIRISH KARNAD

MEDIA APPRECIATION

KARUNYA VINUKONDA

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POINTS COVERED• Introduction

• Historical Aspect And Early Life

• Reflections Of Real Life Over Cinema

• Genres

• Famous Films

• Historical And Political Scenario Of The Country Over Films

• Style

• Script

• Story Line

• Cinematography

• Films & Discussions

• Conclusion

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GIRISH KARNAD

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INTRODUCTION

• Girish Raghunath Karnad

• Contemporary writer, playwright, screenwriter, actor and movie

• He is a recipient of the 1998 Jnanpith Award, the highest literary honour conferred in India.

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INTRODUCTION

• He was conferred Padma Shri and Padma Bhushan by the Government of India

• Won four Filmfare Awards where three are Filmfare Awards for Best Director

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HISTORICAL ASPECT & EARLY LIFE

• Born in Matheran, Maharashtra

• Karnataka, he was exposed to travelling theatre groups

• Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad

• Master of Arts degree in philosophy, political science and economics

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CAREER

• Oxford University Press

• Minister of Culture, in the Indian High Commission

• Director of the Film and Television Institute of India

• Chairman of the Sangeet Natak Akademi

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REFLECTIONS OF REAL LIFE OVER CINEMA

• Karnad endeavours to forge a link between the past and the present.

• Views the subjects of his plays from his own perspective

• Medium to communicate his own-independent and original-feelings, thoughts and interpretations

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HISTORICAL AND POLITICAL SCENARIO OF THE COUNTRY OVER FILMS

• Given new directions to the post-Independence Indian drama

• Heightened awareness of rural forms

• Girish Karnad harmonizes the western tradition of drama with the social-political change, sense of insecurity, frustration, isolation, depression, and search of perfection in Indian sensibility

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• Girish Karnad handled the themes in his own style to mock the society to revive the political situations and to transform the people to be aware of the political unrest

• “Theatre of roots” movement

• Rebelled against British-influenced drama

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• He not only links the past with the present but also the grandeur and mobility of the epics like the Mahabharata and Ramayana with the simplicity and charm of folk imagination

• Tries to establish a ‘dialectical relationship between tradition and modernity’

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• The psychoanalysts like Sigmund Freud, Carl Jung and Claude Levi Strauss believed that “myths and dreams reveal unconscious psychological forces within people”

• He adapts mythical and historical material with a view to giving it a psychological interpretation

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Retrieval of Indian Culture and Tradition in Girish Karnad’s Films

• Girish Karnad is one such dramatist who makes an attempt to retrieve the treasure of culture and tradition. He has been rightly been called the “Renaissance man”,

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• Karnad takes myth as a faith builder for individual’s spiritual evolution. He uses folklore to connect the magic and reality and history for a symbolic sociopolitical struggle in contemporary reality.

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• Presenting myths in human condition he links the present with the eternal and the contemporary with the archetypal

• Naga mandala

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STYLE, SCRIPT and CINEMATOGRAPHY

• He deftly employs all the conventions and motifs of folk tales and folk theatre-masks, dolls, curtains and the story within the story.

• Although he burrows the plot of his plays from different episodes of myth, history and folklore, no character in his dramatic sphere is a superhuman being

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• 1. Vamsha Vriksha (1971, Kannada)

• 2. D.R. Bendre (1972, documentary)

• 3. Tabbaliyu Neenade Magane in Kannada

• 4. Godhuli (1977, Hindi)

• 5. Ondanondu Kaladalli (1978) in Kannada

• 6. Kanooru Heggadathi in Kannada

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• 7. Kaadu (1973, Kannada)

• 8. Durga in Mahendar

• 9. Utsav in Hindi

• 10. Woh Ghar (1984, Hindi), based on Kirtinath Kurtakoti's Kannada play Aa Mani

• 11. The Lamp in the Niche (1990) (documentary)

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• 12. Cheluvi (1992, Kannada and Hindi (Dubbed))

• 13. Chidambara Rahasya (2005, Kannada) (tele film for DD1)

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Kaadu - 1973 – Kannada (The Forest)

• Young boy, Kitti. The boy, who is staying with his uncle Chandra Gowda and aunt Kamali,

• The boy cannot distinguish the specifically man-made violence that surrounds him from the more primeval threats presented by the dense forest

• In a fantasy ending, the boy imagines the bird calling him and he follows the call

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• Movie clip

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Cheluvi - 1992 – Kannada (The Flowering Tree)

• Karnataka folk-tale

• Turn herself into a tree yielding an endless supply of blossoms

• A mutilated tree-stump.

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Vamsha vriksha

• It is a tale of three generations of two Hindu families in Karnataka

• Relevant today

• Several parts of the film rely on movement of the actors, the camera angles, light and shade, rather than the spoken words.

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STATUS OF WOMEN

• Girish Karnad thus has glorified the extra- marital relationship through his dramatic art, while he knows that it is for sensual fulfilment

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CONCLUSION

• Innovating the post sixties Indian theatre

• Experimental Theatre

• Karnad decorates Indian culture nicely

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REFERENCES• Portrayal of Political Power in Girish Karnad

• Majumdar, Neepa. Wanted Cultured Ladies Only! : Female Stardom and Cinema in India, 1930s-50s.

• : University of Illinois Press,

• Dr. Prafull D. Kulkarni (2010). The Dramatic World of Girish Karnad. Creative Books

• www.euroasiapub.org

• Critical Study Of Innovations And Experiments In The Plays Of Girish Karnad Anita Parul Mishra

• Modernist Strains In The Major Plays Of Girish Karnad

• A semiotic study of Girish Karnad's "Nagamandala By Anjali Nambiar

• Chaosmag Database

• Retrieval of Indian Culture and Tradition in Karnad’s plays by Dr. Tasleem A War

• Girish Karnad: A Man and Artist—Evolution of His Dramatic Genius Dr. Krishna Singh

• Girish Karnad : Pioneering ‘The Theatre of Roots’ Dr. Gitanjali Bhatia

• Culture In The Plays Of Girish Karnad Dr. R.Chanana

• www.itimes.com

• Desires and Ecstasies of Women in The Plays Of Girish Karnad Dr. Sunil Mishra

• www.karnatakavision.com