Subversion and Closure: Reading Micro-Texts in Girish. Karnad’s Hayavadana and Naga-Mandala. Sudha Shastri. Journal of Dramatic Theory and Criticism. Read this article to know about the summary of the play Hayavadana by Girish Karnad, central theme of hayavadana, girish karnad hayavadana characters. Hayavadana is a popular play by Girish Karnad discussing about incompleteness, human relations, absurdism, sins, hypocrite ideals, etc.
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Open Preview See a Problem? Thanks for telling us about the problem. Return to Book Page. Preview — Hayavadana by Girish Karnad. Hayavadana by Girish Karnad. Girish Karnad’s play Hayavadana has various cultural implications, which are relevant even today. Focusing on our folk culture, he takes hayavadaja from mythology and folklore. With Hayavadana, Karnad has taken us back to the myths and legends of the Hindu religion.
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Hayavadama ask other readers questions about Hayavadanaplease sign up. Character sketch of devadatta, kapila, padmini. See 1 question about Hayavadana….
Lists with This Book. Jan 22, Sumallya Mukhopadhyay rated it really liked it. Hayavadana, Girish Karnad I took this as a casual, side text, recommended hayavvadana of a play for a course that I have taken. My area of specialisation does not cover theatre.
I have not watched the play being performed. So I will not be able to comment on the theatrical implications and the performative dynamics of the text. Instead, I would comment on the narrative design of the text and its politics of rendering a story. The play brings to my mind the early modernist debate concerning the body a Hayavadana, Girish Karnad I took this as a casual, side text, hayavzdana reading of hayavadaan play for a course that I have taken.
The play does not offer any reconciliation, but what it succeeds in doing, to a great extent, highlights the agony of negotiating the aforementioned debate. Perhaps this is why Padmini is not satisfied with her feelings towards Devdatta and Kapila. She watches them die to bring an end hahavadana her desire of polyandry. Did Karnad do justice to her characterization? I am sure many will disagree with the ending she got.
If she were as dazzling as Draupaudi, the play would not have been able to align its politics in the right direction. Hayavadana is dipped in sexuality.
It is also percolates a certain ambiguity that remains equidistant between a tragedy and a comedy. It has elements of magic realism that helps the play reach its end. Its narration is crisp, quick and, at the same time, highly nuanced. Most importantly, it keeps you thinking. The play stands out because unlike many contemporary literature on theatre, it does not resort to simple imitative ineffectiveness of Western cultural theatre; instead, it experiments with Indian folk theatre form by drawing from our own cultural resources.
Hayavadana Summary | Girish Karnad | English Summary
Dec 23, Ananya Ghosh rated it liked it Shelves: I usually am not mesmerised by Indian dramas but this one turned out to be really good. The story invloves a plot within a plot that merge on a plane and has elements of existentialism, absurdity, dream and so much more, a perfect amalgamation of elements to create a post modern work, also involving traditional methods from Sanskrit drama like the ‘Sutradhar’ or narrator who creates a medium of dialogue between the audience and the actors.
The primary story is about a man with a horse’s head seek I usually am not mesmerised by Indian dramas but this one turned out to be really good. The primary story is about a man with a horse’s head seeking completion in life in the form of a human. The secondary story involves a love triangle between two men who are best friends and a woman who desires both men for their specific qualities. Hayaadana secondary story hayavadaana adapted from Indian mythology and serves as a perfect accompaniment with the Horse’s tale.
The language as well as the plot are bound perfectly and the plot is really dense and engaging. I really loved this one and recommend it to readers of Indian drama since its a classic.
Jan 28, Mythili rated it it was ok. I wonder if seeing this on stage or studying it in the classroom would’ve made me like it more.
Hayavadana by Girish Karnad
Or if I need to read The Transposed Heads to “get” it. Oct 10, Aditi rated it really liked it Shelves: I just finished reading a play titled ‘Hayavadana’, written by Girish Karnad translated in Hindi by B. In the past, I have had the opportunity of reading, watching and working on plays and stories written by Karnad. The most recent production I saw, was ‘The Wedding Album. For me, the most impressive facet about Karnad is his skill of depicting the complexities I just finished reading a play titled ‘Hayavadana’, written by Girish Karnad translated in Hindi by B.
For me, the most impressive facet about Karnad is his skill of depicting the complexities and inner battles of his characters. He continues to amaze me with that proficiency even in plays which are based on folktales.
Since folktales tie the practical and esoteric in a narrative, it can become difficult to refine the layers in characters of such tales portrayed in form of a play and yet hold the essence of that tale. Brecht is known for his theory and practice of ‘Epic Theatre. Some of the common techniques are to have a non-realistic set design, costumes and props can be selectively realistic, including songs and music in the play intermittently.
Actors commonly address the audience directly, breaking the fourth-wall. I found several features common to this theory in Hayavadana: It’s a play within a play, the show begins with an address to audience by the narrator- Bhagwat.
He begins with telling a story which is ‘performed as a play’ on the stage by the actors. The narrator also becomes a character in that story. There are verses and songs which often give a message to the audience this makes it a musical play! There are references of involving the audience’s opinions on the problems raised. The props and costumes are selectively realistic.
The actors think loud and express their inner feelings and reactions in words to the audience. Girish Karnad has also included the elements of folklore, which strengthen the elements of epic theatre. For example, the conversation between the dolls, the story of Hayavadana, who is first half horse and then by Kali’s blessing becomes a complete horse with a human mind and voice.
Hayavadana, portrays the aspect of human nature- imperfection seeking perfection for happiness, and how the monotony of something apparently perfect leads to dissatisfaction in relationships. For example- Padmini’s attraction for Kapil’s physical attributes and skills overlooks Devdatta’s commitment and love for her; Devdatta’s longing and devotion for Padmini, as an inspiration for his poetry because for him she is an epitome of beauty, overlooks the relationship between Kapil and Padmini; the beautiful yet unhappy dolls, who are owned by individuals not wealthy enough to take proper care of them and continue to curse their owners.
The playwright conveys the truth that the only thing that is constant is change and that the humans can never be complete. It is that search that keeps us going. Oct 06, Anshul Thakur rated it really liked it. Though it would be very unfair to judge a play from its written transcript, rather than seeing the performance on stage, I might add that I’ve tried to picture the characters in my head except for their faces. Talk of old Though it would be very unfair to judge a play from its written transcript, rather than seeing the performance on stage, I might add that I’ve tried to picture the characters in my head except for their faces.
Talk of old things in new clothes but with a different perspective. The central idea behind the play is the dilemma that what does one love in someone? Do we love their mind, or their heart? Here heart stands representative of the body, the tangible while the head represents the intangible, wisdom, poetry call it what you please. It is a snare of entangled relationships even though there are only three essential characters to the play.
Devdutta, the only son of venerable Vidyasagar, is a brilliant scholar, who having bested all poets and pundits in logic and poetry wants to surpass Kalidasa in his extent of poetry.
He is also the most eligible bachelor in terms of affluence and stature. The two are less best friends, but more like two bodies, but one mind and one heart. Padmini, the daughter to a wealthy merchant in the same city, does not hesitate in speaking her heart.
She has been brought up with care of wealthy comfort, but her tongue is as untamed as the merchant streets. Devdutta is able to marry her, but not before his marriage proposal is carried to her by Kapila himself who on seeing Padmini, says: You are a gentle soul. But this one is as fast as lightning – and as sharp. She is not for the likes of you. What she needs is a man of steel. But what can one do? This isn’t the complete review, if you like it, and would want to read the rest of it, please visit Aesthetic Blasphemy Nov 11, Samar rated it really liked it.
Karnad may well become one of my favorite dramatists yet. His techniques are nothing short of sheer brilliance. His is a world where children cannot speak, but dolls come alive-arguing, laughing, astute creatures of the unconscious.