Girish Karnad

Girish Karnad was born in Chitrapur Saraswat Brahmin family[6] of Matheran, in present-day Maharashtra, in 1938. His mother Krishnabai (née Mankikar) was a young widow with a son who belonged to a poor family. Since it was necessary for her to earn a living, she began working as a nurse and cook (general housekeeper) for the bedridden wife of a certain Raghunath Karnad, a doctor in the Bombay Medical Services. He was from the Konkani speaking Chitrapur Saraswat Brahmin community.[7]

Some five years later, and while the first wife was still alive, Krishnabai and Dr. Raghunath Karnad were married in a private ceremony. The marriage was controversial not because of bigamy (it was legal until 1956 for a Hindu man to have more than one wife) but because of the prevailing social prejudice against widow remarriage. Therefore, the wedding was held privately, and under the dispensation of the Arya Samaj, a reform organization that condones widow remarriage. Girish was the third of the four children born thereafter.[8]

Karnad's initial schooling was in Marathi. Later, after his father was transferred to Sirsi in the Kannada-speaking regions of Bombay Presidency, Karnad was exposed to travelling theatre groups and nataka mandalis (theatre troupes), which were experiencing a period of efflorescence during the iconic Balgandharva era .[9] As a youngster, he was an ardent admirer of Yakshagana and the theater in his village.[10] His family moved to Dharwad in Karnataka when he was fourteen, where he grew up with his two sisters and a niece.[11]

He earned his Bachelor of Arts degree in mathematics and statistics from Karnataka Arts College, Dharwad (Karnataka University), in 1958. After graduation, he went to England and studied Philosophy, Politics and Economics at Magdalen in Oxford as a Rhodes Scholar (1960–63), earning his Master of Arts degree in philosophy, political science and economics.[5] Karnad was elected the President of the Oxford Union in 1962–63.[12]

After working with the Oxford University Press, Chennai for seven years (1963–70), he resigned to take to writing full-time.[5] While in Madras (now known as Chennai) he got involved with local amateur theatre group, The Madras Players.[13]

During 1987–88, he was at the University of Chicago as visiting professor and Fulbright playwright-in-residence.[5] During his tenure at Chicago Nagamandala had its world premiere at the Guthrie Theater in Minneapolis based on Karnad's English translation of the Kannada original.[14]

He served as director of the Film and Television Institute of India (1974–1975) and chairman of the Sangeet Natak Akademi, the national academy of the performing arts (1988–93). He served as director of the Nehru Centre and as Minister of Culture, in the Indian High Commission, London (2000–2003).

Literature

Karnad in 2010

Karnad is known as a playwright. His plays, written in Kannada, have been translated into English (mostly translated by himself) and some Indian languages. Kannada is his language of choice.

When Karnad started writing plays, Kannada literature was highly influenced by the renaissance in Western literature. Writers would choose a subject that looked entirely alien to manifestation of native soil. C. Rajagopalachari's version of the Mahabharata published in 1951, left a deep impact on him[15] and soon, sometime in the mid-1950s, one day he experienced a rush of dialogues by characters from the Mahabharata in Kannada.

"I could actually hear the dialogues being spoken into my ears ... I was just the scribe," said Karnad in a later interview. Yayati was published in 1961, when he was 23 years old. It is based on the story of King Yayati, one of the ancestors of the Pandavas, who was cursed into premature old age by his preceptor, Shukracharya, who was incensed at Yayati's infidelity.

Yayati, in turn, asks his sons to sacrifice their youth for him, and one of them agrees. It ridicules the ironies of life through characters in Mahabharata. The play in Hindi was adapted by Satyadev Dubey and Amrish Puri was lead actor for the play. It became an instant success, immediately translated and staged in several other Indian languages.[14]

Karnad found a new approach of drawing historical and mythological sources to tackle contemporary themes and existentialist crisis of modern man through characters locked in psychological and philosophical conflicts. His next was Tughlaq (1964), about a rashly idealist 14th-century Sultan of Delhi, Muhammad bin Tughluq, and allegory on the Nehruvian era which started with ambitious idealism and ended up in disillusionment.[15] This established Karnad, now 26 years old, as a promising playwright in the country. It was staged by the National School of Drama Repertory under the direction of Ebrahim Alkazi, with the actor Manohar Singh, playing the visionary king who later becomes disillusioned and turns bitter, amidst the historic Purana Qila in Delhi. It was staged in London by the National School of Drama for the Festival of India in 1982.[5][14]

Hayavadana (1971) was based on a theme drawn from The Transposed Heads, a 1940 novella by Thomas Mann, which is originally found in the 11th-century Sanskrit text Kathasaritsagara. Herein he employed the folk theatre form of Yakshagana. A German version of the play was directed by Vijaya Mehta as part of the repertoire of the Deutsches National Theatre, Weimar.

Naga-Mandala (Play with Cobra, 1988) was based on a folk tale related to him by A. K. Ramanujam, brought him the Karnataka Sahitya Academy Award for the Most Creative Work of 1989. It was directed by J. Garland Wright, as part of the celebrations of the 30th anniversary of Guthrie Theatre, Minneapolis. The theatre subsequently commissioned him to write the play, Agni Mattu Male (The Fire and the Rain). Though before it came Taledanda (Death by Beheading, 1990) which used the backdrop, the rise of Veerashaivism, a radical protest and reform movement in 12th century Karnataka to bring out current issues.[5][16]

At the Tata Literary Festival held in Mumbai in 2012, Karnad was invited to speak about "his life in theater" in an hour-long session. During his speech, he lashed out at V. S. Naipaul for his "antipathy towards Indian Muslims". Naipaul had earlier been conferred the Lifetime achievement award by the festival's organisers. Karnad also criticized the organizers for having honored Naipaul. The audience, which had gathered to hear Karnad speak, had mixed reactions to the speech. Some, like organizer Anil Dharker, tried ineffectually to steer the speech toward less controversial waters. Others were amused by the episode, and some commented on the research and logic that had gone into the speech (unfortunately overshadowed by its 'scandalous' nature).[23]

Just a few weeks after this, Karnad again created controversy by claiming that Rabindranath Tagore, who wrote India's national anthem, was a great poet but a second-rate playwright.[24][25]

In November 2015, during celebrations marking the anniversary of 18th-century Muslim ruler Tipu Sultan's birth, Karnad stated that Bangalore International Airport should have been named after Tipu Sultan instead of Kempe Gowda. This created a furore among many people. Karnad apologised the following day.[26][27]

While working in Madras for Oxford University Press on his return from England, Karnad met his future wife Saraswathi Ganapathy at a party. They decided to marry but the marriage was only formalised ten years later, when Karnad was 42 years old. Saraswathi was born to a Parsi mother, Nurgesh Mugaseth, and a Kodava Hindu father, Kodandera Ganapathy.[28] The couple had two children. They lived in Bangalore.[5] He was extremely fluent and well-versed in Marathi, Kannada, Konkani, Hindi, and English.

He was a proponent of multiculturalism and freedom of expression. He was a critic of religious fundamentalism. He had publicly condemned the demolition of Babri Masjid in 1992 and later spoke against the attempts to create controversy about the Idgah Maidan in Hubli.[5] He had opposed RSS, BJP and other organizations on several occasions. He opposed Narendra Modi for the Prime Minister's post in the 2014 parliament elections.[29] He was one of the 200 writers who put out an open letter against hate politics and for “diverse and equal India” during the 2019 general elections. With a tube in his nose, he wore a placard saying "Me Too Urban Naxal"[30] at the first death anniversary of slain journalist Gauri Lankesh.[29] Karnad claimed that Tipu Sultan was the greatest king Karnataka had in 500 years, on a religious controversy about the king.[29] Karnad was a supporter of the Forum for Communal Harmony.[31]

Karnad died on 10 June 2019 at Bengaluru at the age of 81 due to multiple organ failure following prolonged illness.[32][33]

"After a discussion with his son, it was made clear to us that his last wish was to not have any floral procession, VVIPs or visits of any dignitaries. Hence, it will be a simple affair."

• Om Namo (A mini series for Dooradarshan, directed by K M Chaitanya)
• Kusuma Bale (A mini series for Dooradarshan, directed by K M Chaitanya)[38]

• Evam Indrajit (English) by Badal Sircar. Translated by Girish Karnad. 1974.

• Yayati. Oxford University Press.
• Yayati (Hindi). Tr. by B. R. Narayan. Rajkamal Prakashan Pvt Ltd, 2008. ISBN 81-7119-627-6.
• Tughlaq: A play in 13 scenes, Oxford Univ. Press, 1972
• Tughlaq (Assamese). Translation Utpal Datta. Assam Publication Board. 2005
• Nagamandala (Assamese) Translation. Utpal Datta. Assam Publication Board. 2005
• Hayavadana, Oxford University Press, 1975.
• Tughlaq (Marathi), Tras. Vijay Tendulkar. Popular Prakashan Pvt. Ltd. ISBN 81-7185-370-6.
• Three Plays: Naga-Mandala; Hayavadana; Tughlaq. Oxford University Press, 1996. ISBN 0-19-563765-8.
• Tughlaq (Hindi). Tr. by B. V. Karanth. Rajkamal Prakashan Pvt Ltd, 2005. ISBN 81-7119-790-6.
• Collected plays Vol 1: Tuglaq, Hayavadana, Bali: The Sacrifice, Naga-Mandala. Oxford University Press. 2005. ISBN 0-19-567310-7.
• Collected Plays: Taledanda, the Fire and the Rain, the Dreams of Tipu Sultan, Flowers and Images: Two Dramatic Monologues: Flowers : Broken Images, Vol. 2. Oxford University Press, USA. 2005. ISBN 0-19-567311-5.
• Three plays by Girish Karnad. Oxford University Press. ISBN 0-19-563765-8.
• Cheluvi (Assamese). Translation Utpal Datta.

• ‛Aadaadtha Aayushya’, published by Manohara Grantha Mala, 2011.

• Nand Kumar (2003). "Myths in the Plays of Girish Karnad". Indian English Drama. Sarup & Sons. ISBN 978-81-7625-353-6.
• Sachindananda (2006). "Girish Karnad". Authors speak. Sahitya Akademi. ISBN 978-81-260-1945-8.
• Dr. Prafull D. Kulkarni (2010). The Dramatic World of Girish Karnad. Creative Books Nanded. ISBN 978-81-906717-5-0.
• Dr. Prafull D. Kulkarni (2010). The Enchanting World of Indian English Drama A Socio-Cultural Review. Lulu, USA. ISBN 978-0-557-74285-1.

• Jaydipsinh Dodiya, ed.,The Plays of Girish Karnad: Critical Perspectives Prestige Books, New Delhi, 1999.
• Pradeep Trikha, Multiple Celebrations, Celebrating Multiplicity in Girish Karnad – A Monograph
• Chhote Lal Khatri, Girish Karnad: Naga-mandala : a critique. Prakash Book Depot, 2006. ISBN 81-7977-165-2.
• Dr. Prafull D. Kulkarni, The Dramatic World of Girish Karnad. Creative Books Nanded, 2010. ISBN 978-81-906717-5-0.
• P Dhanavel, The Indian Imagination of Girish Karnad, Prestige Books, New Delhi, 2000.
• G Baskaran, ed., Girish Karnad and Mahesh Dattani: Methods and Motives, Yking Books, Jaipur, 2012.
• Vanashree Tripathi, Three Plays of Girish Karnad: Hayavadana, Tale-Danda, The Fire and the Rain, Prestige Books, New Delhi, 2004.
• Neeru Tandon (2006). "Myth and Folklore in Girish Karnad's Fire and the Rain". Perspectives and challenges in Indian-English drama. Atlantic Publishers & Dist. ISBN 978-81-269-0655-0.
• Julia Leslie, "Nailed to the Past: Girish Karnad's Plays" Journal of South Asian Literature, 1999, 31–2 (for 1996–7), pp. 50–84. JSTOR
• Julia Leslie, "Understanding Basava: History, Hagiography and a Modern Kannada Drama" Bulletin of the School of Oriental and African Studies, 1998, 61, pp. 228–61. DOI
• Zinia Mitra " A Tale of Subversion with a Conundrum of Mask: A Reading into Girish Karnard's Naga Mandala" in Indian Drama in English ed.K.Chakraborty, Delhi, PHI,2011,ISBN 978-81-203-4289-7, INR:295.00 395 pp.
• Jolly Das. 'Tracing Karnad's Theatrical Trajectory: An Integrated Approach to His Life and Creativity'. New Delhi: Paragon, 2015.

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