Major Experiments in the Theatre of Girish Karnad: A Case Study


Keywords:
Sanskrit theatre, Folk theatre, Parsi theatre, Epic theatre, Proscenium theatreAbstract
Drama, of all forms of literature, is the closest to life. It can be called an imitation of the multiple colours of life on stage by using multiple dramatic techniques. It creates an imaginary landscape on stage by imitating the real aspects of human life. It not only presents the realistic approach of life on stage, but also enacts what life can be. Imitation is the key concept of theatre, but at the end of a play, it reveals that life has more colours than we normally see. But the harsh reality of theatre is that it gets less attention of academic critics in comparison to other genres of literature. Academicians think that it is a performing art so they talk less about theatre while theatre artists pay more attention of the dramatic performance part and not bother about the academic part of the text. This neglect can be rectified if academic attention is seriously given to the study of the major experiments that have been done in theatre as a performing art.
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Karnad, Garish. “Acrobating between the Traditional and Modern”, Indian Literature 32.3(May-June1989).85-100. (A Speech in the Meet of Author Programme). Print.
Karnad, Girish. “Appendix”. Collected Plays: Tughlaq, Hayavadana, Bali: The Sacrifice, Naga-Mandala. Vol.1. New Delhi: OUP, 2005. Print.
Mukherjee, Tutun. “In His Own Voice: A Conversation with Girish Karnad.” Girish Karnad’s Plays: Performance and Critical Perspectives. Ed. Tutun Mukherjee. New Delhi: Pencraft International, 2008: 27-55. Print.
Rai, R.N. “Brecht's Non-Aristotelian Theory of Drama and Dramatic Arts of Girish Karnad.” Indian Drama in English: An Anthology of Recent Criticism. Ed. C. L. Khatri and Kumar Chandradeep. Jaipur: Book Enclave, 2006. 23-44. Print.
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