Identity Crisis in Hayavadana
Article : THE ISSUE OF IDENTITY CRISIS:A STUDY OF HAYAVADANA OF GIRISH KARNAD
Author : DR. TUTA ESWAR RAO
Abstract Girish Karnad’s use of folk forms is neither casual nor incidental. In his Hayavadana, he has made innovative experiment to offer a new direction to modern theatre. The dramatist has proved that the traditional forms need not be treated as precious artifacts, but can be adapted to treat modern themes suitable for the urban audience. This paper is an attempt to portray how Karnad used the ancient story to explore the theme of human identity in a world of tangled relationships and a struggle for perfection.
Girish Karnad, in Hayavadana, which won the Natya Sangh Best Play Award in 1971, gives expression to Indian imagination in its richest colours and profound meanings. As a significant mark of achievement Karnad makes bold innovations, fruitful experiments and new directions in the history of Indian drama. In Hayavadana, Karnad combines the western techniques with Indian folk psyche, socio-cultural and political reality. The entire play is cast in the form of traditional Indian folk drama, which took several features of ancient Sanskrit drama. Karnad in Hayavadana strikes a significant note by exploring the dramatic potential of the ancient Indian myths, legends and folk traditions.
Girish Karnad’s Hayavadana is based on Thomas Mann’s story entitled ‘Transposed Heads’, which in turn is based on one of the versions of the story in vetal panchavimshati. (The plays of Girish Karnad: The Development of Girish Karnad as a dramatist) But Karnad draws heavily on Thomas Mann’s story. In Hayavadana, Karnad wants to suggest to us that for us king Vikram’s solution does not solve the problem. In fact the real problem begins when it appears to be solved. That could be the reason why he dropped the version of vetal panchavimshati, which had the ‘incest’ themes. At the same time he makes significant departures from Thomas Mann’s story too. The
Author : DR. TUTA ESWAR RAO
Abstract Girish Karnad’s use of folk forms is neither casual nor incidental. In his Hayavadana, he has made innovative experiment to offer a new direction to modern theatre. The dramatist has proved that the traditional forms need not be treated as precious artifacts, but can be adapted to treat modern themes suitable for the urban audience. This paper is an attempt to portray how Karnad used the ancient story to explore the theme of human identity in a world of tangled relationships and a struggle for perfection.
Girish Karnad, in Hayavadana, which won the Natya Sangh Best Play Award in 1971, gives expression to Indian imagination in its richest colours and profound meanings. As a significant mark of achievement Karnad makes bold innovations, fruitful experiments and new directions in the history of Indian drama. In Hayavadana, Karnad combines the western techniques with Indian folk psyche, socio-cultural and political reality. The entire play is cast in the form of traditional Indian folk drama, which took several features of ancient Sanskrit drama. Karnad in Hayavadana strikes a significant note by exploring the dramatic potential of the ancient Indian myths, legends and folk traditions.
Girish Karnad’s Hayavadana is based on Thomas Mann’s story entitled ‘Transposed Heads’, which in turn is based on one of the versions of the story in vetal panchavimshati. (The plays of Girish Karnad: The Development of Girish Karnad as a dramatist) But Karnad draws heavily on Thomas Mann’s story. In Hayavadana, Karnad wants to suggest to us that for us king Vikram’s solution does not solve the problem. In fact the real problem begins when it appears to be solved. That could be the reason why he dropped the version of vetal panchavimshati, which had the ‘incest’ themes. At the same time he makes significant departures from Thomas Mann’s story too. The