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Girish Karnad`s plays: performance and critical perspectives /
Contributed articles on the Kannada plays of Girish Ragunath Karnad, b. 1938, playwright, director, and actor from India; includes articles on the performances of his plays and his interview.
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| Format: | Printed Book |
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New Delhi :
Pencraft International ,
2006.
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Table of Contents:
- 1. Playing upon the possibilities: Ma Nishada as Agasayana in the 1990s 2. Race and gender in Yayati 3. Tughlaq as an experimenter 4. Use and abuse of history in Tuglaq 5. Historical fictions and postcolonial representation: reading Tuglaq 6.Thirty years with insane man: an actor reminisces 7. From the horse's mouth: a study of Hayavadana 8. Hayavadana: model of complexity 9. Hayavadana; a study in condensation 10. Effacing hayavadana: on the masks of the text 11. Myth and reality in Hayavadana and Nagamandala 12. Quest for completeness in Hayavadana and Nagamandala 13. Myth and romance in Nagamandala or their subversion 14. Nagamandala as afolk/ fake morality play: a study of the folk paradigm in karnad's play in the light of the Naga cult of Kerala 15. Performing woman performing body adapting Nagamandala for feminist theatre 16. From word to act: an approach to Girish Karnad 17. Caste consciousness and Karnad: analyzing Tale-danda 18. Tale-danda: text and performance 19. We have a play to perform today karnad's plays on stage 1984-1994 20.Ritual as self-discovery in the fire and the rain 21. Politics pf power: a study of gender and caste in the fire and the rain 22. Woman as director: re-reading the fire and the rain 23. A Karnad festival in Karnataka 24. The fire and the rain on celluloid 25. Negotiating ideological spaces: reading bali: the sacrifice 26 Bali: the sacrifice and Dionysian life assertion 27. The dreams of tipu's Sultan at Mysore 28. On the wings of his dreams : re-viewing the legend and history of Tipu Sultan 29. The flickering play of desire and memory: exploring Driven snow 30.Problematizing Karnad's dramaturgy 31. The splintered self: a heap of broken images 32. Flowers: a dramatic monologue patriarchal power and the nature of sacifice