PAPER :-4(IWE DRAMATISTS)
To evaluate my assignment click here
NAME:- NIYATIBEN A.PATHAK
COURSE:-M.A.(ENGLISH)
SEM:-1
BATCH:-2017-2019
ROLL NO :- 31
ENROLLMENT NO:-2069108420180042
SUBMITTED TO:-DEPARTMENT OF ENGLISH MKBU.
E-MAIL ID :- napathak02@gmail.com
PAPER NO:-4
Topic :- WRITERS OF INDIAN WRITING IN ENGLISH
★ Introduction:-
In simple words, Drama is a genre of English Literature, which is normally in prose and which tells a story and is intended to be represented by actors impersonating the characters and speaking the dialogue.
It involves the playwright, the actor, the audience, plot-construction, characterisation, dialogues, music, dance, posture, stage setting etc.
Indian Drama is the broad concept comprising entire Indian myths and culture. Drama in India is older than in Western Literature, as when Indian Drama was at its zenith, the Western countries were in chaos. Indian drama came 2000 years before Aristotle’s monumental work ‘Poetics’.
Journey of Indian Drama begins with the Sanskrit plays, among which Natyashastra is the oldest text of the theory of the Drama. Thus the origin of Indian drama is found in the Vedic Period.
Most celebrated dramatists of ancient era are Ashwagosh, Bhasa, Shudraka, Kalidasa, Harsha, Bhavbhuti, Vishakhadatta etc. Literature in Sanskrit is classified into two categories—
Drishya:- that can be seen;
Sravya-:- that can be heard
Drama falls in the category of Drishya
◆Historical Background
Indian English Drama dates back to 18th century when the British Rule became stable in India. British brought with them, the theatre. But during the initial decades of their rule, they could not present English Drama due to the unawareness of Indians regarding the English Language.
Hence, a lot of English plays, like those of Shakespeare were translated into Indian Languages and then presented before the Indians.
Gradually, Western education made its way to India. As a result, Indian English Drama came into existence.
English Drama in India was started by Krishna Mohan Banerji with his work The Perscecuted (1837). It was a social play dealing with the conflicts between East and West.
The real beginning of the English Drama in India was with Is This Called Civilization by Michael Madhu Sudan Dutt in 1871. Indian English Drama could not progress for two decades after M.M.S. Dutt due to some plausible reasons.
e.g. English is not the mother tongue of Indians, hence it was difficult to make a dialogue between Indians in English sound look natural and convincing.
This difficulty was overcome by eminent playwrights like R.N. Tagore and Sri Aurobindo. Indian English Drama made quite progress after R.N. Tagore and Sri Aurobindo.
◆Characteristics
Most of the playwrights preferred to write short plays as compared to full length plays.As far as themes are concerned, social problems were the main focus of this era. Plays dealing with legendary and historical themes occupied next place to the social ones.Playwrights like the Sri Aurobindo, Bharati Sarabhai drew their themes from the ancient myths and legends and interpret them in terms of a contemporary social problem.Playwrights like Kailasam and Ramaswami Shastri focussed on highlighting the greatness of epic heroes and heroines.Playwrights like Chattopapadhaya, Ayyar and Narayanan made contemporary issues the theme of their plays.S.P., Annayya, Ayyar etc took interest in history and current politics.Coming to models and techniques, most of the playwrights opted for Elizabethan model.Many playwrights did not adhere to the Classical Sanskrit Drama and Ancient Techniques.
◆Subcategories of indian drama :-
This category has the following 7 subcategories, out of 7 total.
● 14-century indian dramatists and playwright's (1p)
● 15th-century Indian DRAMATISTS and playwright's(1p)
● 17th- century indian DRAMATISTS and playwright's(1 p)
● 18th- century indian DRAMATISTS and playwright's(1 p)
● 20th- century indian DRAMATISTS and playwright's(402p)
● 21th- century indian DRAMATISTS and playwright's (85 p)
◆Playwrights :-(DRAMATIST)
are :- Asif currimbhoy ,Nissing Ezekiel, Girish karane, Badal Sirkar, Mohan Rakesh,Vijay Tendulakar, Mahesh Chattani, Shri Auron info, Rabindranath Tagore,T.P.Kailasm,Shri. Aurobindo.
◆RABINDRANATH TAGORE: –
INTRODUCTION :-
He was awarded the Nobel Prize for literature and was entitled as “the epitome of Indian Spiritual Heritage”. He wrote primarily in Bengali, but most of his plays were translated into English. His best known works are Chitra, Sacrifice, The Post Office, The Cycle of Spring etc. Tagore was first to use symbolism and allegorical significance as a prime technique in his plays. He presented a synthesis of East and West in his plays.SRI AUROBINDO: – He wrote five complete and six incomplete verse plays. There is a variety of periods and places in his plays. He dealt with human evolution and love in his drama. His famous plays are-Perseus the Deliverer, Prime of Edur, Eric etc.HARINDRANATH CHATTOPADHAYA: – His plays fell under four groups- Devotional, Social, Historical, Social and Devotional. In his social plays, he presents social evils and problems through symbolism. He is deeply influenced by Progressive Writer’s Movement.S.P AYYAR:- He was a social reformer who exposed ills of contemporary Indian society. His main grounds were widowhood, religious orthodoxy, superstition and hypocrisy.
INTRODUCTION :-
He was awarded the Nobel Prize for literature and was entitled as “the epitome of Indian Spiritual Heritage”. He wrote primarily in Bengali, but most of his plays were translated into English. His best known works are Chitra, Sacrifice, The Post Office, The Cycle of Spring etc. Tagore was first to use symbolism and allegorical significance as a prime technique in his plays. He presented a synthesis of East and West in his plays.SRI AUROBINDO: – He wrote five complete and six incomplete verse plays. There is a variety of periods and places in his plays. He dealt with human evolution and love in his drama. His famous plays are-Perseus the Deliverer, Prime of Edur, Eric etc.HARINDRANATH CHATTOPADHAYA: – His plays fell under four groups- Devotional, Social, Historical, Social and Devotional. In his social plays, he presents social evils and problems through symbolism. He is deeply influenced by Progressive Writer’s Movement.S.P AYYAR:- He was a social reformer who exposed ills of contemporary Indian society. His main grounds were widowhood, religious orthodoxy, superstition and hypocrisy.
★GIRISH RAGHUNATH KARNARD:-
Girish Raghunath Karnad (born 19 May 1938) is an Indian actor, film director, writer,playwright and a Rhodes Scholar, who predominantly works in South Indian cinema and Bollywood. His rise as a playwright in the 1960s, marked the coming of age of modern Indian playwriting in Kannada, just as Badal Sarkar did in Bengali, Vijay Tendulkar in Marathi, and Mohan Rakesh in Hindi. He is a recipient of the 1998 Jnanpith Award, the highest literary honour conferred in India.
★Early life and education:-
Girish Karnad was born in Matheran, Maharashtra in a Saraswat Brahmin (SB) Konkani family, to Rao Saheb Dr.Karnad and Krishna Bai Mankeekara. Krishna Bai was a widow and was serving as a homemaker for Rao Saheb and his bedridden wife for about five years. Rao Saheb and Krishna Bai married according to Arya Samaj tradition.His initial schooling was in Marathi. In Sirsi, Karnataka, he was exposed to travelling theatre groups, Natak Mandalis as his parents were deeply interested in their plays.As a youngster, Karnad was an ardent admirer of Yakshagana and the theater in his village. His family moved to Dharwad in Karnataka when he was 14 years old, where he grew up with his two sisters and niece.He earned his Bachelor of Science degree in mathematics and statistics from Karnatak Arts College, Dharwad (Karnataka University), in 1958. Upon graduation Karnad went to England and studied Philosophy, Politics and Economics at Magdalen in Oxford as a Rhodes Scholar (1960–63), earning his Master of Arts degree in philosophy, political science and economics.Karnad was elected President of the Oxford Union in 1963.
◆LITERATURE:-
Karnad is known as a playwright. His plays, written in Kannada, have been translated into English and some Indian languages. Kannada is his adopted language.When Karnad started writing plays, Kannada literature was highly influenced by the renaissance in Western literature.HIS first work Yayati was published in 1961, when he was just 23 years old. It is based on the story of King Yayati, one of the ancestors of the Pandavas, who was cursed into premature old age by his preceptor, Shukracharya, who was incensed at Yayati's infidelity. Yayati in turn asks his sons to sacrifice their youth for him, and one of them agrees. It ridicules the ironies of life through characters in Mahabharata. It became an instant success, immediately translated and staged in several other Indian languages.second work tugalaq which was based on 1964), about a rashly idealist 14th-century Sultan of Delhi, Muhammad bin Tughluq, and allegory on the Nehruvian era which started with ambitious idealism and ended up in disillusionment.
◆T.P.Kailasm:-
 |
Thanjavur Paramasiva Kailasam (1884–1946), was a playwright and prominent writer of Kannada literature. His contribution to Kannada theatrical comedy earned him the title Prahasana Prapitamaha, "the father of humorous plays" and later he was also called "Kannadakke Obbane Kailasam" meaning "One and Only Kailasam for Kannada".
Genre:- fiction,humor,comedy.
●Erly Life:-
Kailasam was born in a Tamil family in southern Karnataka, India. His father, T. Paramasiva Iyer, was employed as munsif in the Mysore state service and progressed to become the Chief Justice of the Mysore High Court. His father's brother was the Madras High Court judge, Sir T. Sadasiva Iyer.
Kailasam had a good education and was supported by the Maharaja of Mysoreto study geology in London. Kailasam repeated several classes to have an excuse to extend his stay in England. He spent six years in school there, participating in theatre whenever possible.Kailasam had written many plays in both kannada and english some of his famous books in the kannada language are- Makala school mana alawa,Sikarni Savithri,Sathavana santhapa and Haninabal kanirranu like thise he wrote many books in kannada .
ENGLISH DRAMA(PLAY):-
FULFILLMENT
PURPOSE
THE BRAHMIN'S CURSE
THE BURDEN
◆PURPOSE :-
It is a play in two acts , Eklavya is the central character of the play , the play is subtitled as "A PLAYLER OF EKLAVYA ", It was published in 1944.T.P.Kailsm's the purpose was taken from a mythical story from mahabharat. Central character in the play was Eklavya who was marginalized by society and gurudrona also .And the other character was Arjuna who was at the corner in the play .both wishes to became best Archer of the world .The story moves around Eklavya and Arjuna and their purpose behind learning archery. Both want to learn archery from the great Dronacharya. Dronacharya teaches archery to Arjuna but can not accept Eklavya’s proposal because of his promise to Arjuna. Arjuna wants to become the great archer of the world. And Eklavya explains that he wants to learn archery to save lives of innocent animals. Arjuna’s purpose behind learning archery is self centered while Eklavya’s purpose is noble. In the 2nd act Eklavya is far ahead than Arjuna in archery. In anger Arjuna says that he will tell everyone that Guru Drona has not kept his vow. To save his Guruji from social criticism Eklavya gives his thumb as gurudakshina.After giving his thumb in gurudakshina Eklavya realizes that his purpose behind learning archery was to save lives of innocent animals but now he cannot look into the eyes of the animals. The drama ends with Eklavya crying.
◆Sri Aurobindo:
●INTRODUCTION:-
★BORN At Calcutta on August 15,18872 father krishnadham(m.d.),mother of swar kata.
★At the age of 7 years ,sent to england for completing his schooling.
★At the age of 18 years got admission in Cambridge uni. And also qualified horse riding examination.
★In 1893, returned back to india and became the vice principal of the state college in baroda.
★During 1893-1903 he studied sanskrit, Bengali, philosophy and political science.
★In 1906, during partition of Bengal he resigned his job and joined the Bengal national collage.
★In 1908, joined the indian freedom struggle and openly boy dotted of British goods , british courts and everything.
★He was the first political leader in india to openly put forward, in his newspaper Bandematram , the idea of complete independence for the country.
"OUR ACTUAL ENEMY IS NOT ANY FORCE EXTERIOR TO OURSELVES BUT OUR OWN CRYING WEAKNESS, OUR COWARDICE, OUR SELFISHNESS, OURHYPOCRISY,OUR PUBLIND SENTIMENATALISM."
Sri Aurobindo is another prominent dramatist in Indian English drama. He wrote five complete blank verse plays besides his six incomplete plays. His complete plays are Perseus the Deliverer, Vasavadutta, Radoguna, The Viziers of Bassora and Eric and each of these plays is written in five acts. His incomplete plays are The Witch of Ilni, Achat and Esarhaddon, The Maid and the Mill, The House of Brut, The Birth of Sin and Prince of Edur.
The notable feature of Sri Aurobindo’s plays is that they depict different cultures and countries in different epochs, ringing with a variety of characters, moods and sentiments. Perseus the Deliverer is grounded on the ancient Greek myth of Perseus. Vasavadutta is a romantic tale of ancient India.
Rodoguna is a Syrian romance. The Viziers of Bassora is a romantic comedy that goes back to the days of the great Haroun al Rashid, while Eric is a romance of Scandinavia, a story of love and war between the children of Odin and Thor. In Aurobindo’s plays we find romance, heroic play, tragedy, comedy and farce. Aurobindo was much influenced by Elizabethan drama in matters of plot construction and characterisation. The use of the English blank verse is flawless in Aurobindo. We also find the impact of Sanskrit playwrights like Bhasa, Kalidas and Bhavabhuti on Aurobindo.
◆ MAHESH ELKUNCHWAR :-
●Mahesh Elkunchwar (born October 9, 1939) is an Indian playwright with more than 15 plays to his name, in addition to his theoretical writings, critical works, and his active work in India's Middle Cinema as actor and screenwriter.
●Born to a Brahmin family in Parwa, Maharashtra and raised outside of Indian urban centers, Elkunchwar has experimented with many forms of dramatic expression, ranging from the realistic to symbolic, expressionist to absurd. Having influenced modern Indian theatre for more than three decades, Elkunchwar emerged onto the national theatre scene with his play Sultan in 1967.
A number of commercial hits followed such as Holi (1969), Raktapushpa (1971), Party (1972), Virasat (1982), and Atamkatha (1987). Elkunchwar's plays are written in the Indian language that is spoken by some seventy-five million people called Marathi. The plays have been subsequently translated into multiple Indian and Western languages (including English, French and German).
●Elkunchwar's plays have gained national and international critical attention, and his growing body of work has become part of India's post-colonial theatrical canon. He has been honored in India with the Homi Bhabha Fellowship (1976-78), the Sangeet Natak Akademi annual award for best playwright (given by the National Academy of the Performing Arts, 1989), Nandika (1989), Maharashta Gaurav (1990), the Maharashtra Foundation Award (1997), the Sahitya Akademi Award (given by the National Academy of Letters, 2002), and the Saraswathi Samman, one of India's highest literary awards (2003), and internationally with the Brittingham Fellowship (2005).
◆Vijay Tendulkar:
●Indian theatre gained immensely through Tendulkar’s Marathi play, Shantata ! Court Chalu Aahe; it reveals the shocking streaks of cruelty hidden below the ordinary middle class veneer. In the course of the rehearsal of a mock trial, a woman’s character is attacked verbally by others with disturbing ferocity and sadistic delight.
●His Sakharam Binder banned for alleged vulgarity but triumphantly vindicated by the Bombay High Court which declared the ban void, Gidhale and Ghasiram Kotwal are studies in violence and sex inherent and suppressed in human nature. Bold themes are dealt by himin a serious manner Vijay Tendulkar symbolises the new awareness and attempts of Indian dramatists of the century to depict the agonies, suffocations and cries of man, focusing on the middle class society. In all his plays, he harps upon the theme of isolation of the individual and his confrontation with the hostile surroundings.
●Influenced by Artaud, Tendulkar relates the problem of anguish to the theme of violence in most of his plays. The plays Chimanicha Ghor Hote Menache (1960), Kalojanchi Shalai (1968) and Ek Holti Mugli (1967) reflect Tendulkar’s concern with authority and the idea of exploitation of the individual.
●Kamala (1982) and Kanyadaan (1982) are written on the lines of naturalistic tradition. Kamala is a study of marital status as well as a study in the theme of exploitation.
●Kanyadaan is a complex play about the cultural and emotional upheavals of a family. Tendulkar was associated with the New Theatrical Movement in Maharashtra.
●He presents a fictional reality in which the reality of life acquires a sharp, focused character having rare dramatic power.
◆NISSIEM EZEKIEL:-
●American farce are considered to be a welcome add tion to the nglish drama. Songs Of Deprivaticn (1969 dramaturgy of India is also a short olay by Ezekiel. Gurucharan's Larins Sahib (1970 a historical play, deal with Henry Lawrence of Panjab The play Marriage Poem, presents the conflict of a middle class husband caught in the conflict of commitments of married life and the desire of love. The Sleep Walkers is a diverting take c on national preconceptions and prejudices.
●Nissim Ezekiel is acknowledged for his exceptional poetic creed and rare dramatic sensibility. Nissim Ezekiel’s Three Plays (1969) including Nalini: A Comedy, Marriage Poem: A Tragi Comedy and The Sleepwalkers: An Indo-American farces are famous. Songs of Deprivation (1969) is also a short play by Ezekiel.
●His plays can be appreciated for symmetrical construction with an abundance of irony. They unveil his sharp observation of the oddities of human life and behaviour. Ezekiel’s plays make pleasant reading. Ezekiel is said to come very close to the spirit of some English social satirists in theatre.
●His plays can be appreciated for symmetrical construction with an abundance of irony. They unveil his sharp observation of the oddities of human life and behaviour. Ezekiel’s plays make pleasant reading. Ezekiel is said to come very close to the spirit of some English social satirists in theatre.
=> Some indian english womens playwrights also published their plays in the contemporary phase :-
=>DINA MEHTA:-
INTRODUCTION :-
●Deena Mehta born on February 18, 1961 is an Indian businesswoman, broker, investor, financial adviser, chartered accountant, and social activist. She currently serves as the Managing Director and Chief Executive Officer of Asit C. Mehta Investment Interrmediates Ltd. Deena Mehta was one of the first few woman members of Bombay Stock Exchange, Mumbai and eventually went on to become its first woman president.
INTRODUCTION :-
●Deena Mehta born on February 18, 1961 is an Indian businesswoman, broker, investor, financial adviser, chartered accountant, and social activist. She currently serves as the Managing Director and Chief Executive Officer of Asit C. Mehta Investment Interrmediates Ltd. Deena Mehta was one of the first few woman members of Bombay Stock Exchange, Mumbai and eventually went on to become its first woman president.
●Dina Mehta’s first full length play The Myth Makers (1969) won an award from Sultan Padamsee Playwriting Competition in 1968 and Tiger Tiger (1978) - a play on Tipu Sultan, Brides are not Burning (a play on dowry deaths) won the first prize in a worldwide competition sponsored by B. B. C. in 1979. Getting Away with Murder was on the short list of seven specially commended radio plays out of 902 entries submitted for the B. B. C. World Playwriting Competition, 1989. Her other famous plays are One Plus One Makes Nine and Sister Like You. Her Getting Away with Murder deals with childhood, sexual abuse, infidelity, and insecure relationship. It gives an account of three women friends who pass through their own private hells and finally emerge as strangers to one another. Mrs. Mehta brings to life the extremely parochial mentality of some residents of cities like Mumbai.
CONCLUSION
So, here i concluded that Indian Drama is the broad concept comprising entire Indian myths and culture. Drama in India is older than in Western Literature, as when Indian Drama was at its zenith, the Western countries were in chaos. and many dramatist give many interesting work .
So, here i concluded that Indian Drama is the broad concept comprising entire Indian myths and culture. Drama in India is older than in Western Literature, as when Indian Drama was at its zenith, the Western countries were in chaos. and many dramatist give many interesting work .
Work sited:-
3 study material
No comments:
Post a Comment