Charlotte Blair Parker and Girish Karnad: Difference between pages

From Wikipedia, the free encyclopedia
(Difference between pages)
Content deleted Content added
VisualWikitext
 
mNo edit summary
 
Line 1: Line 1:
{{Infobox Writer <!-- for more information see [[:Template:Infobox Writer/doc]] -->
'''Charlotte Blair Parker''' (1858 - January 5, 1937) was a noted playwright and aspiring actress in the late 19th and early 20th Centuries. She began her theatrical career as an actress, eventually playing opposite [[John Edward McCullough]], [[Mary Anderson]], and [[Dion Boucicault]]. Writing under the pen name Lottie Blair Parker, she wrote about a dozen produced plays but is remembered most for her three most popular stage plays, produced between 1897 and 1906: [[Way Down East]], [[Under Southern Skies]] and [[The Redemption of David Corson]]. Of the three, Way Down East, produced in 1897, was the most successful, proving to be one of the most popular American plays of its time, steadily performed for two decades
|image = Replace this image male.svg
|imagesize = 150px
|name = Girish Raghunath Karnad
|caption =
|pseudonym =
|birthdate = [[19 May]] [[1938]]
|birthplace = [[Matheran]], [[Maharashtra]]
|deathdate =
|deathplace =
|occupation = [[Playwright]], [[Film Director]], [[Actor]], [[Poet]]
|nationality = [[India]]
|period =
|genre = Fiction
|subject =
|movement = [[Kannada literature#Navya (New/Modernist)|Navya]]
|notableworks = ''Tughalak 1964''
|influences =
|influenced =
|signature =
|website =


}}


'''Girish Raghunath Karnad''' ({{lang-kn|ಗಿರೀಶ್ ರಘುನಾಥ ಕಾರ್ನಾಡ್}}) (born [[19 May]] [[1938]]) is a contemporary [[writer]], [[playwright]], [[actor]] and [[Film Director|movie director]] in [[Kannada language]]. He is the latest of seven recipients<ref>{{cite web
== Early Years ==
| last =
Born 1858, in Oswego, New York, Charlotte Blair Parker was the daughter of George and Emily Hitchcock Blair. She married Harry D. Parker. Charlotte Blair Parker died January 5, 1937, in Great Neck, New York.
| first =
| title = Jnanapeeth Awards
| url = http://ekavi.org/jnanpeeth.htm
| publisher = Ekavi
| accessdate = 2006-10-31 }}
</ref> of [[Jnanpith Award]] for [[Kannada language|Kannada]], the highest literary honour conferred in [[India]]. For four decades Karnad has been composing [[Play (theatre)|plays]], often using [[history]] and [[mythology]] to tackle contemporary issues. He is also active in the world of [[Cinema of India|Indian cinema]] working as an [[actor]], [[Film Director|director]], and [[screenwriter]], earning numerous awards along the way. He was conferred [[Padma Shri]] and [[Padma Bhushan]] by the government of India.


== Early life ==
Girish Karnad was born in [[Matheran]], [[Maharashtra]], into a [[Konkani language|Konkani]]-speaking family. His initial schooling was in [[Marathi]]. As a youngster, Karnad was an ardent admirer of [[Yakshagana]] and the theater in his village.<ref name="interview">{{cite web|url=http://www.museindia.com/showcont.asp?id=10|title= Conversation with Girish Karnad|work=Bhargavi Rao on Muse India|publisher=Muse India|accessdate=2007-07-11}}</ref>


He earned his [[Bachelors of Arts]] degree from [[Karnatak University|Karnataka University]], [[Dharwad]], in 1958. Upon graduation Karnad went to [[England]] and studied at [[Lincoln College, Oxford|Lincoln]] and [[Magdalen College, Oxford|Magdalen]] colleges in [[University of Oxford|Oxford]] as a [[Rhodes Scholar]], earning his [[Master of Arts (postgraduate)|Master of Arts]] degree in [[philosophy]], [[political science]] and [[economics]]. Karnad was a Visiting Professor and [[Fulbright Scholar]] in Residence at the [[University of Chicago]].
== Career ==
Charlotte "Lottie" Blair Parker's theatrical career started as an actress, studying for the stage under the noted Shakespearian actor, [[Wyzeman Marshall]] in Boston. She performed with the stock company of the Boston Theatre, and later toured with such major figures as the Czech tragic actress Mme. Janauschek and American actor-producer of poetic drama Lawrence Barrett. Parker married a theatrical manager. She turned to playwriting when White Roses, a one-act play she submitted to a New York Herald contest in 1892, received honorable mention.


==Career==
'''Way Down East''' In 1897, at the age of 39, Parker penned her most popular full-length play, titled "[[Way Down East]]." It was a sentimental melodrama about the travails of a seduced woman, Anna Moore, who is cast out by those who learn her story. After being seduced and losing the child of that liaison, Anna Moore ( Phoebe Davies) wanders despondently until she finds refuge as a servant in the New England farm of Squire Bartlett (played by Odell Williams). Ignorant of her past, the Bartletts embrace her as part of their household. But when Squire Bartlett learns her history he drives her from his home in the midst of a raging snowstorm. Anna loses her way and nearly dies before she is rescued by the Bartletts' son, David (played by Howard Kyle). He has come to love her and finally persuades his parents that she is worthy to be his wife. Way Down East premiered at the [[Manhattan Theatre]] in 1898 where it enjoyed 152 performances. It was later revised by Joseph R. Grismer, whose wife, Phoebe Davis, played the leading role of Anna Moore in the original production and in later revivals in 1903 and 1905. Davis would go on to play the role for more than 4,000 performances. <ref>[http://www.encyclopedia.com/doc/1O149-WayDownEast.html The Oxford Companion to American Theatre, 2004]</ref>
=== Literature ===
Karnad is most famous as a [[playwright]]. His plays, written in [[Kannada]], have been widely translated into [[English language|English]] and all [[List of national languages of India|major Indian languages]]. Karnad's plays are written neither in [[English language|English]], in which he dreamed of earning international literary fame, nor in his mother tongue [[Konkani language|Konkani]]. Instead they are composed in his adopted language [[Kannada language|Kannada]]. When Karnad started writing plays, [[Kannada literature]] was highly influenced by the renaissance in [[Western literature]]. Writers would chose a subject which looked entirely alien to manifestation of native soil. In a situation like that Karnad found a new approach like drawing [[History|historical]] and [[mythology|mythological]] sources to tackle contemporary themes. His first play, "Yayati" (1961), ridicules the ironies of life through characters in [[Mahabharata]] and became an instant success, immediately translated and staged in [[List of national languages of India|several other Indian languages]]. "Tughlaq" (1964), his best loved play, established Karnad as one of the most promising playwrights in the [[India|country]]. A large number of his kanada plays have been translated by Dr.[[Bhargavi rao| Bhargavi P Rao]]


=== Movies ===
In 1920 [[D. W. Griffith]] paid $175,000 for screen rights to the melodrama, which was by then considered dated. His film version was a popular success and an artistic triumph, largely because of the sweetly expressive face of Lillian Gish. <ref>[http://books.google.com/books?id=_zs-DN6uqtsC&pg=PA56&lpg=PA56&dq=%22Charlotte+Blair+Parker%22&source=web&ots=Pd4bwvzvPN&sig=C7To6iS--4FuTgAjNx4tJ3TMwtE&hl=en&sa=X&oi=book_result&resnum=4&ct=result Thomas Hardy on Screen Terence R. Wright, Page 56]</ref>
His directorial debut came with the movie ''VamshaVruksh, based on a [[Kannada language|Kannada]] novel by [[S.L. Bhairappa]]. The movie won several national and international awards. Before this, Karnad acted in a movie called ''[[Samskara (film)|Samskara]]'', based on a novel by [[U.R. Ananthamurthy]] and directed by Pattabhirama Reddy. That movie won the first [[National Film Award for Best Film|President's Golden Lotus Award]] for [[Cinema of Karnataka|Kannada cinema]]. Later, Karnad directed several movies in [[Kannada]] and [[Hindi]]. Some of his famous Kannada movies include ''Tabbaliyu neenade magane'', ''Ondanondu Kaaladalli'', ''Cheluvi'' and ''Kadu''. His Hindi movies include ''[[Utsav]]'' and ''Godhuli''. A recently acclaimed movie by Karnad is ''Kanooru Heggaditi'', based on a novel by [[Kannada language|Kannada]] writer [[Kuvempu]]. Karnad has also acted in several other movies and received critical acclamation.


He has been criticised by the eminent Kannada novelist [[S.L. Bhairappa]] for being untrue to history in order to curry favor with the establishment.
Way Down East (1898), a play by Lottie Blair Parker, revised by Joseph R. Grismer. [Manhattan Theatre, 152 perf.] Although the William A. Brady–Florenz Ziegfeld production was little more than a compilation of settings and motifs popular in melodrama of the period, it was praised for its restraint and honesty. The play became one of the greatest successes of the American stage and held the boards for nearly two decades. Davies, who was Mrs. Grismer in private life, played the role over four thousand times. Lottie Blair PARKER (1868–1937) was born in Oswego, New York, and began her theatrical career as an actress, eventually playing opposite John McCullough, Mary Anderson, and Dion Boucicault. She wrote about a dozen produced plays, including White Roses (1892) and Under Southern Skies (1901), but none was as popular as Way Down East.
[http://rand-rambler.blogspot.com/2006/10/response-to-december-studs-comment.html]


=== Other notable works ===
<ref>[http://books.google.com/books?hl=en&id=S1seAAAAMAAJ&dq=%22Lottie+Blair+Parker%22&printsec=frontcover&source=web&ots=sTHLM3yw7y&sig=VIOCw148a16kuZp2gCCQI7mqnJE&sa=X&oi=book_result&resnum=2&ct=result#PPA1,M1 Way Down East: A Romance of New England Life by Joseph R. Grismer, Grossett & Dunlap, 1900]</ref> <ref>[http://books.google.com/books?id=UtFlWOHc7nYC&pg=PA228&lpg=PA228&dq=%22Lottie+Blair+Parker%22&source=web&ots=9trRkGKPUZ&sig=BNWBX7QTOAmtsqNibEJl9Ws9GVo&hl=en&sa=X&oi=book_result&resnum=8&ct=result#PPA229,M1 The Sounds of Early Cinema By Richard Abel, Rick Altman, Page 229]</ref>
He has played the role of Karadi, the sootradhar (narrator), for several stories in the popular audiobook series for kids, ''Karadi Tales''. He has also been the voice of APJ Abdul Kalam, President of India, in the audiobook of Kalam's autobiography by Charkha Audiobooks ''Wings of Fire''.


==Personal life==
Critics saw a strong resemblance between Way Down East and Steele MacKaye's 1880 melodrama Hazel Kirke, in which Parker had once played the title role. Both plays feature an innocent girl who loves a man above her station in life and is duped by a sham marriage ceremony. Upon her learning of her dishonor, Hazel Kirke throws herself into the mill race. In Way Down East, Anna Moore is sent out into a New England blizzard. In both plays, the heroine is rescued at the last minute and a reconciliation is effected. The originality of Parker's treatment lies in her use of "Down East" atmosphere and such comic characters as Hi Holler, Martha Perkins, and Reuben Whipple.
Karnad is married to Dr. Saraswathy Ganapathy and they have two children Shalmali Radha and Raghu Amay.<ref>http://www.hinduonnet.com/fline/fl1603/16031170.htm</ref>


== Further reading ==
''[[Under Southern Skies]]'' was set in Louisiana in 1875. It opened November 12, 1901, with Grace George in the leading role. True to its reviewer's prediction, the play was a popular success with "that large class of playgoers who like their color on thick without too much delicacy of shading, and with no great subtlety in the handling." This criticism was intended metaphorically, but it might also be noted that several roles were performed in black-face. As in Way Down East, the heroine is caught between a false-hearted cad and an honorable young suitor; again, virtue triumphs.
* Jaydipsinh Dodiya, ''Plays of Girish Karnad''


== Awards and honors ==
Parker's third full-length play to reach Broadway was [[The Redemption of David Corson]], based upon a novel of the same title by [[Charles Frederic Goss]]. It premiered January 8, 1906 but had a short life of only 16 performances. In 1909, Parker focused on the New England village milieu, Yankee characters, and rustic dialect, when she turned the novel ''Homespun: A Story of Some New England Folk'', into a stage play. She used the formula of her stage melodramas—a conflict between a rich scoundrel and a poor-but-honest young man. A review of Homespun in the New York Times (14 Aug. 1909) sums up her characteristic manner: "It is as moral as a Sunday school tale, and at the end pleases if not surprises the reader by the tableau of virtue triumphant and vice in the dust." <ref>[http://query.nytimes.com/mem/archive-free/pdf?_r=1&res=9F03E5DD143DE733A25754C0A9679D946497D6CF&oref=slogin Lottie Blair Parker's New Play, New York Times, November 7, 1905]</ref>
=== For literature ===
<ref>[http://select.nytimes.com/gst/abstract.html?res=F40A1FFE3B541B728DDDA90994DB405B878FF1D3&scp=1&sq=Lottie%20B.%20Parker&st=cse $100,000 IN ESTATE OF LOTTIE B. PARKER; 'Way Down East' Author Left Property to 31 Persons and Three Institutions, New York Times, March 10, 1937]</ref>
* [[Sangeet Natak Akademi|Sangeet Natak Akademi award]] - 1972
* [[Padma Shri]] - 1974
* [[Padma Bhushan]] - 1992
* [[Kannada Sahitya Parishat|Kannada Sahitya Academy]] award - 1992
* [[Sahitya Academy]] award - 1994
* [[Jnanpith Award]] - 1998
* [[Rajyotsava Award]]


=== For movies ===
== Chronology of theatrical productions/compositions ==
* [[National Film Award for Best Film|President's Golden Lotus]] for the Best Indian film for "Samskara" - 1970
* National Award for Excellence in Direction for "VamshaVruksha"(Shared with [[B.V. Karanth]]) - 1972
* National Award for the Best Script for "[[Bhumika]]" - 1978
* [[National Film Award for Best Film|Golden Lotus]] for the Best Non-Feature Film for "Kanaka Purandara" - 1989
* Karnataka State Award for the Best Supporting Actor in "Santa Shishunala Shareef" - 1991
* [[Filmfare Awards|FilmFare Award]] for Best Script for Godhuli(shared with [[B.V. Karanth]]) - 1979
* [[Mysore State]] Award for Best Kannada film and the Best Direction for VamshaVruksha - 1972
* [[Gubbi Veeranna]] Award
* [[Filmfare]] Nominations as Best Supporting Actor for [[Aasha]] (1980) and [[Teri Kasam]] (1982)


He also served as the director of the [[Film and Television Institute of India]] from 1974-1975, the Indian co-chairman for the Joint Media Committee of the Indo-US Sub-Commission on Education and Culture from 1984-1993, chairman of the [[Sangeet Natak Academy]] from 1988-1993, and president of Karnataka Nataka Academy from 1976-1978.
{|class="wikitable"
|-
! Productions
! Genre
! Contribution by Lottie B. Parker
! Dates of Productions
|-
|[[Way Down East]] <ref>[http://www.ibdb.com/production.php?id=5805 Internet Movie Database: Way Down East]</ref>
|Play, Melodrama, Original, Broadway
|Written by Lottie Blair Parker; Revised by Joseph R. Grismer
|February 7, 1898 - June, 1898 (Manhattan Theatre, NYC - 152 Performances)
|-
|[[Under Southern Skies]] <ref>[http://www.ibdb.com/production.php?id=5515 Internet Movie Database: Under Southern Skies]</ref>
|Play, Melodrama, Original, Broadway
|Written by Lottie Blair Parker; Produced by William A. Brady
|November 12, 1901 - January, 1902 (Theatre Republic, NYC - 71 Performances)
|-
|[[Lights of Home]] <ref>[http://www.ibdb.com/production.php?id=395924 Internet Movie Database: Lights of Home]</ref>
|Play, Melodrama, Original, Broadway
|Written by Lottie Blair Parker.
|November 2, 1903 - Closing date unknown (Haverly's 14th Street Theatre, NYC)
|-
|[[Way Down East]] <ref>[http://www.ibdb.com/production.php?id=5804 Internet Movie Database: Way Down East]</ref>
|Play, Melodrama, Revival, Broadway
|Written by Lottie Blair Parker; Revised by Joseph R. Grismer
|December 14, 1903 - Closing date unknown (Academy of Music, NYC - 48 Performances)
|-
|[[Way Down East]] <ref>[http://www.ibdb.com/production.php?id=5806 Internet Movie Database: Way Down East]</ref>
|Play, Melodrama, Revival, Broadway
|Written by Lottie Blair Parker; Revised by Joseph R. Grismer
|August 21, 1905 - October, 1905 (Academy of Music, NYC - 64 Performances)
|-
|[[The Redemption of David Corson]] <ref>[http://www.ibdb.com/production.php?id=6154 Internet Movie Database: The Redemption of David Corson]</ref>
|Play, Melodrama, Original, Broadway
|Written by Lottie Blair Parker; from the novel by Rev. Charles Frederic Goss
|January 8, 1906 - January 19, 1906 (Majestic Theatre - 16 Performances)
|}


==Footnotes==
== Bibliography ==
=== Plays ===
{{reflist}}
* '''Tughlaq'''
(translated in Hindustani by B.V.Karanth.Major Indian Directors who stage it-E.Alkaji,Prasanna, Arvind Gaur & Dinesh Thakur
* '''Hayavadana'''
* '''Nagamandala'''
* '''Bali'''
* '''Agni mattu Male''' (The Fire and the Rain),First Directed by Prasanna for NSD Rep.
* '''Odakalu Bimba'''
* '''Yayaathi'''
* '''Anjumallige'''
* '''Maa Nishaadha'''
* '''Tippuvina Kanasugalu''' (The Dreams of Tipu Sultan)
* [['''Taledanda''']],In Hindi its known as '''Rakt-Kalyan''' translated by Ram Gopal Bajaj ,first directed by E.Alkaji for NSD rep.,then by Arvind Gaur(1995-2008,still running)for Asmita Theater Group,New Delhi.
* Hittina Hunja


== Karnad's works in visual media ==
=== Movies ===
* ''Manthan''
* ''Nagamandala''
* ''Agni mattu Male'', made into a [[Hindi]] movie titled ''Agnivarsha''
* ''Umbartha'' (''Marathi'', with Smita Patil)
* ''Man Pasand''
* ''Iqbal''


=== Movies directed by Girish Karnad ===
== References ==
*''[[Utsav]]'' in Hindi
Though none of Charlotte Blair Parker's plays were published, the [[New York Public Library]] has [[Way Down East]] and [[Under Southern Skies]] in typescript.
*''Samskara'' in Kannada. He got a National Award for best direction.
*''Ondanaondu Kaaladalli'' in Kannada
*''Anand Bhairavi'' in both Kannada and Telugu
*''Kanooru Heggadathi'' in Kannada
*''[[Woh Ghar]]'', based on [[Kirtinath Kurtakoti]]'s Kannada play ''Aa Mani''
*''Kaadu'' in Kannada
*''Cheluvi'' in Kannada
*''Durga'' in Mahendar


== '''Play Reviews''' ==
Parker, L. B., "''The Writer's Thoughts Concerning Her Play''," in Green Book Album (October, 1911).

* All of his plays have been staged and performed in almost all [[List of national languages of India|languages of India]].
'''RAKT- KALYAN (Tale Danda)''''''CRITICS SAY'''
Girish wrote the play in 1989 when the mandir and masjid movements were beginning to show how relevant the questions posed in the 12th century are Today. The anger of society, unwilling to abandon the safety net of the caste system , turns to frenzy when a brahmin sharana girl is married to a chamar sharana boy. They are lynched and kalyan is rift with war cries... Gaur repeated his Tughlaq technique. Bare sets, symbolic costumes, letting words and characters hold the reins of dramatic power... Bright scenes of lucid argument... house was packed and very responsive.
'''-Kavita Nagpal ( Hindustan Times)'''

Among the best things that happened to the Indian theatre in the recent times is the creation of Kannada play, Rakt Kalyan , by Girish karnad. Arvind Gaur, the director knew the strength of the play lay in its excellent script and an equally brilliant translation, of it, into Hindi by Ramgopal Bajaj.Arvind Gaur's main achievement was his deep understanding of the nuances of the play and his impeccable sense of choreography, which was well effected, especially during the crowd scenes .What is more, he used the basement space very imaginatively...Rakt- Kalyan owes its greatness to the fact that it does not unnecessarily attempt to politicize the issue and for good reasons. Although any attempt to bring about social reformation does inevitably throw up certain political
challenges it is the existing socio-religious turmoil that creates the biggest impediment and the irony is that in such circumstances, the inherent Contradictions within a social structure come in to the play. Emotion supersedes reason which consequently hurts the cause...Watching Asmita's Rakt Kalyan... became apparent that lack of resources need not come in the way of good presentation, given the dedication and commitment of the actors and the director.
'''-V M Badola (The Pioneer)'''

Girish Karnad's "Rakt Kalyan" is a superb play, which well illustrates how man has not learnt from history... it is remarkable for Gaur's handling of large crowd scenes...and for underlining the relevance of the play set in 12th century in south India to the present day socio-political atmosphere in the country...like asmita's earlier productions "Rakt Kalyan" is mounted on a bare stage without The frills of period costumes with emphasis on the socio-political relevance of the play and in this production succeeds admirably
'''-Romesh chander(The Hindu)'''

Play is a complex and incisive investigation of an actual historical
experiment in social reordering and its tragic failure on the individual as well as the collective level ...Asmita's Rakt Kalyan endeavors to foreground the play's political implications particularly in relation to caste ...interesting piece of theatre…it is remarkable for director Arvind Gaur's skillful handling of the large cast in terms of blocking and movement.
'''- Javed malik (Times of India)'''

Asmita's "Rakt kalyan" is relevant...credible achievement by Asmita...with large cast of about 30 artists, the play is marked by excellent teamwork, a steady pace and some beautiful musical interludes chosen especially according to the mood of the scene...direction by Arvind Gaur was indeed applaudable.
'''- Kasturika Mishra (Sunday Herald)'''

Meaningful study of the tenuous link between religions as masses understand them and human tolerance...a mirror to the irrationality and grave consequences
of such polarization and leaderless agitation’s in society.
'''-Ashish Sharma (Indian Expess)'''

Asmita sworn to bring the classics to the common masses. Refreshingly uncomplicated, their productions question and tease the sanctity of plays that many directors fear to touch... an impressive play.
'''-Smita Nirula (H.T)'''

Rakt Kalyan against terrorism...tight creative direction...artistic, powerful,effective design
'''-Jagmohan (Danik Hindustan, Hindi))'''

Spotlight on caste conflict... caste system, religious biases,political maneuverings for selfish ends are the betes noires of Indian politics and Society. The Mandir Msjid controversy aggravated in the late 1990s inspiring Dr Girish Karnad to script 'tale danda' meaning " death by beheading"...the achievements of the theatre enthusiasts of ASMITA lies in posing meaningful questions shaking the innerpsyche of audiences forcing them to search and Strive for answers... Ram Gopal Bajaj's translation retained the blend of local dialect Sanskritised text while capturing the conflicting issues.
'''-Sushma Chadha (The H. T.)'''

A quiet kranti ...the mountain is potent with still, silent drama. It stands resonant with history it has witnessed. Sometimes it erupts, spewing up lava of long suffering. The parallel with human script and mass psyche is unavoidable. If Theatre manages to present a microcosmic replica of this phenomenon; it has managed to produce a classic... Director Arvind Gaur radically avant-garde concepts return the stage to the actor. Not flashy sets but a great strength of stillness, silent figures, characterization
and speech.
'''-Aruna Ahluwalia(Evening news)'''

An Asmita presentation Rakt Kalyan under the vigorous directorial venture of Arvind Gaur is a powerful and timely response of the prevailing caste-tensions and religion-political turmoil’s in the country. '''-Rashtriya Sahara'''

== See also ==
*[[Kannada]]
*[[Kannada literature]]

== Footnotes ==
{{reflist}}


== External links ==
New York Dramatic Mirror (August 27, 1901). New York Times (February 8, 1898; November 13. 1901; January 9, 1906).
*[http://www.imagi-nation.com/moonstruck/clsc79.html Profile of Girish Karnad]
*{{imdb name|0439784}}
*[http://www.virtualbangalore.com/Ppl/PplKarnad.php Profile of Girish Karnad on Virtual Bangalore]
{{Karnataka topics}}


{{DEFAULTSORT:Karnad, Girish}}
The Stage (New York) (January, 1937; August, 1937).
[[Category:1938 births]]
[[Category:Alumni of Lincoln College, Oxford]]
[[Category:Indian Rhodes scholars]]
[[Category:Indian actors]]
[[Category:Indian dramatists and playwrights]]
[[Category:Indian film directors]]
[[Category:Indian socialists]]
[[Category:Jnanpith Award recipients]]
[[Category:Kannada literature]]
[[Category:Kannada writers]]
[[Category:Konkani]]
[[Category:Living people]]
[[Category:Padma Bhushan recipients]]
[[Category:Padma Shri recipients]]
[[Category:People from Karnataka]]
[[Category:Sahitya Akademi Award recipients]]


[[eo:Girish Karnad]]
''Drama by Women to 1900: A Bibliography of American and British Writers'' by Davis and Joyce
[[hi:गिरीश कर्नाड]]
[[kn:ಗಿರೀಶ್ ಕಾರ್ನಾಡ್]]
[[ml:ഗിരീഷ് കര്‍ണാട്]]
[[mr:गिरीश कर्नाड]]
[[sa:गिरीश कर्णाड]]
[[te:గిరీష్ కర్నాడ్]]

Revision as of 01:53, 13 October 2008

Girish Raghunath Karnad
OccupationPlaywright, Film Director, Actor, Poet
NationalityIndia
GenreFiction
Literary movementNavya
Notable worksTughalak 1964

Girish Raghunath Karnad (Kannada: ಗಿರೀಶ್ ರಘುನಾಥ ಕಾರ್ನಾಡ್) (born 19 May 1938) is a contemporary writer, playwright, actor and movie director in Kannada language. He is the latest of seven recipients[1] of Jnanpith Award for Kannada, the highest literary honour conferred in India. For four decades Karnad has been composing plays, often using history and mythology to tackle contemporary issues. He is also active in the world of Indian cinema working as an actor, director, and screenwriter, earning numerous awards along the way. He was conferred Padma Shri and Padma Bhushan by the government of India.

Early life

Girish Karnad was born in Matheran, Maharashtra, into a Konkani-speaking family. His initial schooling was in Marathi. As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village.[2]

He earned his Bachelors of Arts degree from Karnataka University, Dharwad, in 1958. Upon graduation Karnad went to England and studied at Lincoln and Magdalen colleges in Oxford as a Rhodes Scholar, earning his Master of Arts degree in philosophy, political science and economics. Karnad was a Visiting Professor and Fulbright Scholar in Residence at the University of Chicago.

Career

Literature

Karnad is most famous as a playwright. His plays, written in Kannada, have been widely translated into English and all major Indian languages. Karnad's plays are written neither in English, in which he dreamed of earning international literary fame, nor in his mother tongue Konkani. Instead they are composed in his adopted language Kannada. When Karnad started writing plays, Kannada literature was highly influenced by the renaissance in Western literature. Writers would chose a subject which looked entirely alien to manifestation of native soil. In a situation like that Karnad found a new approach like drawing historical and mythological sources to tackle contemporary themes. His first play, "Yayati" (1961), ridicules the ironies of life through characters in Mahabharata and became an instant success, immediately translated and staged in several other Indian languages. "Tughlaq" (1964), his best loved play, established Karnad as one of the most promising playwrights in the country. A large number of his kanada plays have been translated by Dr. Bhargavi P Rao

Movies

His directorial debut came with the movie VamshaVruksh, based on a Kannada novel by S.L. Bhairappa. The movie won several national and international awards. Before this, Karnad acted in a movie called Samskara, based on a novel by U.R. Ananthamurthy and directed by Pattabhirama Reddy. That movie won the first President's Golden Lotus Award for Kannada cinema. Later, Karnad directed several movies in Kannada and Hindi. Some of his famous Kannada movies include Tabbaliyu neenade magane, Ondanondu Kaaladalli, Cheluvi and Kadu. His Hindi movies include Utsav and Godhuli. A recently acclaimed movie by Karnad is Kanooru Heggaditi, based on a novel by Kannada writer Kuvempu. Karnad has also acted in several other movies and received critical acclamation.

He has been criticised by the eminent Kannada novelist S.L. Bhairappa for being untrue to history in order to curry favor with the establishment. [1]

Other notable works

He has played the role of Karadi, the sootradhar (narrator), for several stories in the popular audiobook series for kids, Karadi Tales. He has also been the voice of APJ Abdul Kalam, President of India, in the audiobook of Kalam's autobiography by Charkha Audiobooks Wings of Fire.

Personal life

Karnad is married to Dr. Saraswathy Ganapathy and they have two children Shalmali Radha and Raghu Amay.[3]

Further reading

  • Jaydipsinh Dodiya, Plays of Girish Karnad

Awards and honors

For literature

For movies

  • President's Golden Lotus for the Best Indian film for "Samskara" - 1970
  • National Award for Excellence in Direction for "VamshaVruksha"(Shared with B.V. Karanth) - 1972
  • National Award for the Best Script for "Bhumika" - 1978
  • Golden Lotus for the Best Non-Feature Film for "Kanaka Purandara" - 1989
  • Karnataka State Award for the Best Supporting Actor in "Santa Shishunala Shareef" - 1991
  • FilmFare Award for Best Script for Godhuli(shared with B.V. Karanth) - 1979
  • Mysore State Award for Best Kannada film and the Best Direction for VamshaVruksha - 1972
  • Gubbi Veeranna Award
  • Filmfare Nominations as Best Supporting Actor for Aasha (1980) and Teri Kasam (1982)

He also served as the director of the Film and Television Institute of India from 1974-1975, the Indian co-chairman for the Joint Media Committee of the Indo-US Sub-Commission on Education and Culture from 1984-1993, chairman of the Sangeet Natak Academy from 1988-1993, and president of Karnataka Nataka Academy from 1976-1978.

Bibliography

Plays

  • Tughlaq

(translated in Hindustani by B.V.Karanth.Major Indian Directors who stage it-E.Alkaji,Prasanna, Arvind Gaur & Dinesh Thakur

  • Hayavadana
  • Nagamandala
  • Bali
  • Agni mattu Male (The Fire and the Rain),First Directed by Prasanna for NSD Rep.
  • Odakalu Bimba
  • Yayaathi
  • Anjumallige
  • Maa Nishaadha
  • Tippuvina Kanasugalu (The Dreams of Tipu Sultan)
  • '''Taledanda''',In Hindi its known as Rakt-Kalyan translated by Ram Gopal Bajaj ,first directed by E.Alkaji for NSD rep.,then by Arvind Gaur(1995-2008,still running)for Asmita Theater Group,New Delhi.
  • Hittina Hunja

Karnad's works in visual media

Movies

  • Manthan
  • Nagamandala
  • Agni mattu Male, made into a Hindi movie titled Agnivarsha
  • Umbartha (Marathi, with Smita Patil)
  • Man Pasand
  • Iqbal

Movies directed by Girish Karnad

  • Utsav in Hindi
  • Samskara in Kannada. He got a National Award for best direction.
  • Ondanaondu Kaaladalli in Kannada
  • Anand Bhairavi in both Kannada and Telugu
  • Kanooru Heggadathi in Kannada
  • Woh Ghar, based on Kirtinath Kurtakoti's Kannada play Aa Mani
  • Kaadu in Kannada
  • Cheluvi in Kannada
  • Durga in Mahendar

Play Reviews

'RAKT- KALYAN (Tale Danda)'CRITICS SAY Girish wrote the play in 1989 when the mandir and masjid movements were beginning to show how relevant the questions posed in the 12th century are Today. The anger of society, unwilling to abandon the safety net of the caste system , turns to frenzy when a brahmin sharana girl is married to a chamar sharana boy. They are lynched and kalyan is rift with war cries... Gaur repeated his Tughlaq technique. Bare sets, symbolic costumes, letting words and characters hold the reins of dramatic power... Bright scenes of lucid argument... house was packed and very responsive. -Kavita Nagpal ( Hindustan Times)

Among the best things that happened to the Indian theatre in the recent times is the creation of Kannada play, Rakt Kalyan , by Girish karnad. Arvind Gaur, the director knew the strength of the play lay in its excellent script and an equally brilliant translation, of it, into Hindi by Ramgopal Bajaj.Arvind Gaur's main achievement was his deep understanding of the nuances of the play and his impeccable sense of choreography, which was well effected, especially during the crowd scenes .What is more, he used the basement space very imaginatively...Rakt- Kalyan owes its greatness to the fact that it does not unnecessarily attempt to politicize the issue and for good reasons. Although any attempt to bring about social reformation does inevitably throw up certain political challenges it is the existing socio-religious turmoil that creates the biggest impediment and the irony is that in such circumstances, the inherent Contradictions within a social structure come in to the play. Emotion supersedes reason which consequently hurts the cause...Watching Asmita's Rakt Kalyan... became apparent that lack of resources need not come in the way of good presentation, given the dedication and commitment of the actors and the director. -V M Badola (The Pioneer)

Girish Karnad's "Rakt Kalyan" is a superb play, which well illustrates how man has not learnt from history... it is remarkable for Gaur's handling of large crowd scenes...and for underlining the relevance of the play set in 12th century in south India to the present day socio-political atmosphere in the country...like asmita's earlier productions "Rakt Kalyan" is mounted on a bare stage without The frills of period costumes with emphasis on the socio-political relevance of the play and in this production succeeds admirably -Romesh chander(The Hindu)

Play is a complex and incisive investigation of an actual historical experiment in social reordering and its tragic failure on the individual as well as the collective level ...Asmita's Rakt Kalyan endeavors to foreground the play's political implications particularly in relation to caste ...interesting piece of theatre…it is remarkable for director Arvind Gaur's skillful handling of the large cast in terms of blocking and movement. - Javed malik (Times of India)

Asmita's "Rakt kalyan" is relevant...credible achievement by Asmita...with large cast of about 30 artists, the play is marked by excellent teamwork, a steady pace and some beautiful musical interludes chosen especially according to the mood of the scene...direction by Arvind Gaur was indeed applaudable. - Kasturika Mishra (Sunday Herald)

Meaningful study of the tenuous link between religions as masses understand them and human tolerance...a mirror to the irrationality and grave consequences of such polarization and leaderless agitation’s in society. -Ashish Sharma (Indian Expess)

Asmita sworn to bring the classics to the common masses. Refreshingly uncomplicated, their productions question and tease the sanctity of plays that many directors fear to touch... an impressive play. -Smita Nirula (H.T)

Rakt Kalyan against terrorism...tight creative direction...artistic, powerful,effective design -Jagmohan (Danik Hindustan, Hindi))

Spotlight on caste conflict... caste system, religious biases,political maneuverings for selfish ends are the betes noires of Indian politics and Society. The Mandir Msjid controversy aggravated in the late 1990s inspiring Dr Girish Karnad to script 'tale danda' meaning " death by beheading"...the achievements of the theatre enthusiasts of ASMITA lies in posing meaningful questions shaking the innerpsyche of audiences forcing them to search and Strive for answers... Ram Gopal Bajaj's translation retained the blend of local dialect Sanskritised text while capturing the conflicting issues. -Sushma Chadha (The H. T.)

A quiet kranti ...the mountain is potent with still, silent drama. It stands resonant with history it has witnessed. Sometimes it erupts, spewing up lava of long suffering. The parallel with human script and mass psyche is unavoidable. If Theatre manages to present a microcosmic replica of this phenomenon; it has managed to produce a classic... Director Arvind Gaur radically avant-garde concepts return the stage to the actor. Not flashy sets but a great strength of stillness, silent figures, characterization and speech. -Aruna Ahluwalia(Evening news)

An Asmita presentation Rakt Kalyan under the vigorous directorial venture of Arvind Gaur is a powerful and timely response of the prevailing caste-tensions and religion-political turmoil’s in the country. -Rashtriya Sahara

See also

Footnotes

  1. ^ "Jnanapeeth Awards". Ekavi. Retrieved 2006-10-31.
  2. ^ "Conversation with Girish Karnad". Bhargavi Rao on Muse India. Muse India. Retrieved 2007-07-11.
  3. ^ http://www.hinduonnet.com/fline/fl1603/16031170.htm

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Charlotte_Blair_Parker&oldid=244897108"