#Girish karnad tv serials serial

Karnad's first film was Samskara, based on Ananthamurthy's novel by the same name. Tughlaq worked so well because it was not a realistic play.' The use of history and mythology to tackle contemporary themes gives him the psychological distance to comment on our times. Ananthamurthy, eminent novelist: 'Karnad is the poet of drama. Nagamandala is a universal, timeless play.' Says young playwright Mahesh Dattani: 'He has a historic vision but a contemporary voice, which make his plays very universal. Now that he is being commissioned to write plays Karnad has decided to say goodbye to films.Д«ut this charge is actively countered by Karnad's legion of admirers.

'He does not confront reality,' complains a contemporary, adding that 'his characters are not flesh and blood individuals but broad representations of their class or ideology'. His detractors, however, insist that stripped of his other roles, Karnad is reduced to a bunch of plays that dwell on arcane myths and parochial ethnicity. And if the top soil is gone then you are left with only the hard rock.' I have seen too many artists being swallowed up by that. And he is aware of the price of fame: 'The danger in turning into a public figure is that it eats into one's creativity.

'I love my family but I don't necessarily like talking about it,' he says.

#Girish karnad tv serials serial

Today, after eight major plays and several memorable forays into popular and art cinema as actor-director-scriptwriter, Karnad is in the process of finishing what he says will be his last film Kanaru Heggadithi (mistress of Kanaru the Hindi serial version for Doordarshan is titled Kanaru Ki Malkin).ДЄ privacy he so values that he prefers not to share it with others. Three years later came what is perhaps his best and most famous play Tughlaq.ДЄ compelling allegory on the Nehruvian era, it was performed by the National School of Drama repertory under Ebrahim Alkazi's direction with the noted actor Manohar Singh as the grandiose and visionary but despotic Tughlaq. An instant success, it was translated and staged in many Indian languages. 'I could actually hear the dialogues being spoken into my ears.' The play was published as Yayati in 1961. It came in a rush of dialogues spoken by mythical characters from the Mahabharata and they spoke in his adopted language Kannada. The muse, when it descended on him one day in the mid-'50s, talked in a language that was neither his mother tongue Konkani nor his preferred English.