Girish Karnad gives the Indian theatre the richness that can probably be equated only with his talents as an actor and director. His contribution goes beyond the theatre as he represents India in the foreign land like an emissary of art and culture. He in all his plays moves away from the tradition. He borrows various themes and techniques for his plays from history, myths, folk tales, folk and classical theatre while he contemporarily relies on contemporary themes and techniques. His uniqueness lies in the revival of the ritualistic and symbolic aspects of drama involved in the role playing rituals in all cultures have a purpose toward off and purge the community from all evils. Dressing, singing, dancing and all are aspects of rituals. The researches in anthropology and culture emphasize in intrinsic relation of drama with civilization mores across cultures.
The ritualized actions in the form of chanting of hymns in yajna, the play within the play, Yavakri water as a magic saviour the mating of Vishaka and Yavakri Raibhyas creating a Brahma rakshasa to kill Yavakri the performing of funerals, expiation, penitence for the unnatural death. The final act, epilogue creates the impression of events piling up a tidal wave of circumstances and emotions sweeping over the characters. In the culminating action the ritualistic design is taken to its final teleological ending with Nittilai’s blood shed bleeding, dying like a sacrificial animal.
The Fire and the Rain is the sixth successful drama of Girish Karnad. It is based on mythology, for which the dramatist relies heavily on an episode in the Mahabharata. The Fire and the Rain is the translation of his Kannada play “Agni Mattu Male”. The plot of the play is not as simple as that of Kar...
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...to be accompanied with the sense of fulfilment seems to be accompanied with the sense of realization of the gilt. The world has been accepted by remaining character without any want of change. And it appears that Karnad’s vision about human relation ship has been mellowed and broadened to accept the reality as truth.
REFERENCES:
Primary Sources
1. Girish Karnad, The Fire and the Rain, New Delhi: Oxford University Press 1998.
2. Girish Karnad, Collected Plays, Vol-2, New Delhi: Oxford University Press, 2005.
3. Girish Karnad, Author’s Introduction, Three Plays: The Fire and the Rain, Bali and The Dreams of Tippu Sultana, New Delhi: Oxford University Press, 1994.
Secondary Sources
1. Sudhir Kakar, The Indian Psyche, New Delhi: Oxford University Press, 1996.
2. William Shakespeare, The Tempest, Complete Shakespeare, New Delhi: Oxford University, Press.
David Edwards is a stage and film acting veteran from Las Cruces, New Mexico. He has performed in countless stage performances and several onscreen acting jobs during the last four decades. Mr. Edwards employs both practical and magic rituals to the preparations for his stage performances, and he keeps a good luck charm on his person. His rituals are less extreme than many other stage performers who are extremely observant of superstitions and adamant about preshow rituals. Anthropologists would take note of the greater ritual associated with stage acting than with film acting, as performers feel a lesser need for luck in the mistakes- forgiving world of film. This parallels the dichotomy between hitters and fielders in baseball.
The protagonist of the book – The Tale of Genji, was a factious character named Genji who was certainly a legendary figure. His countless intimate relationships with a variety of women were truly unbelievable by modern standards. It is easy for the readers to notice the amorous character of Genji. However, behind this certain image, there were surely some other noticeable traits of him through his affairs with some of the important women in his life. For instance, he was brave and treated the women he loved with sincere and courtesy; moreover, when it came to women, he was sort of an unrealistic perfectionist. Nonetheless, sometimes he could also be selfish for his own interest without taking other’s ideas and feelings into consideration.
...the narrator and all people a way of finding meaning in their pains and joys. The two brothers again can live in brotherhood and harmony.
Japan’s dances and dramas as they are seen today contain 1300 years of continuous uninterrupted history. This prodigious feat of conservation, theatrically speaking, makes Japan an extraordinary and unique country. In all of Asia, where tradition generally is sanctified and change eschewed, Japan stands as the only country whose theatre is its entirety has never suffered an eclipse nor undergone any drastic revivification or renovation. The most traditional form of Japanese theatre is kabuki. Its origin goes back to the latter part of the 16th century and, with extensive and continuous evolution, it has now been perfected into a state of classical refinement. Though not as flourishing as it once was, the kabuki theatre retains wide popularity among the people, and is in fact drawing quite large audiences even now.
Poetry and Drama. Ed. X.J. Kennedy and Dana Gioia. 9nd ed. New York: Longman, 2005. Pgs 389-392
Leenerts, Cynthia. "'How Can We Be Like We Used to Be?': The Collective Sita and the Collective Draupadi in Raja Rao's Kanthapuraand Jyotirmoyee Devi's The River Churning." South Asian Review 24.2 (2003): 84-105. Rpt. in Contemporary Literary Criticism. Vol. 255. Detroit: Gale, 2008. Literature Resource Center. Web. 21 Apr. 2014.
Toer’s use of allegorical and symbolic language in this novel weaves a picture of the growth of the Javan/Indonesian independence movement that led to the birth of a nation. The metaphor of Minke’s changing perspective upon his self-identity and principles of the Enlightenment reflect the turmoil Toer witnessed with his own eyes. Rather than settle for the corrupt nature of Javan society through Dutch rule, Toer asserts, through the writing of this novel, that a society that holds the ideals of modern and Enlightened thinking will rise to be successful.
In this paper, I will be focusing briefly on my knowledge and understanding of the concept of Applied theatre and one of its theatre form, which is Theatre in Education. The term Applied Theatre is a broad range of dramatic activity carried out by a crowd of diverse bodies and groups.
Hosseini, Seyed Mohammad. “The Postmodernist Rendition of Myth in the Selected Plays of Sam Shepard.”International Journal of Humanities and Social Science.Vol.2.2012:246-254.
The Greek theatre tradition of the time was rooted in the spirituality of its people, developed with the help and instruction from the politicians of the day and analysed by the philosophical contingent of the age. To discover how the theatre tradition of the fifth century was influenced by the spiritual, philosophical and political mindset of its time, one must first look at how the theatre of this age was first developed.
For as long as humankind exists, theatre will always take on an important function within its cultures. Through theatre, a culture expresses itself, reflects its society, and displays its individuality. It invites people to experience other cultures.
Aparna, Bhargava. Theatres of Independence: Drama, Theory, and Urban Performance in India Since 1947. New York: University of Iowa Press, 2009.
Swann, Darius L. "Indian and Greek Drama: Two Definitions." Comparative Drama 3.2 (1969): 110-9. Web. 5 Apr. 2014.
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Garg in ‘Hari Bindi’ discusses the story of a common woman and made it extraordinary by the active force she was experiencing in herself to live her life. The husband of the protagonist symbolises the power and control of patriarchy that had restricted her life in such a way