The article presents a literary criticism of the indian play naga-mandala, by girish karnad, analyzing its unique intersection of myth, history, and storytelling through the feminist perspective the plot and major themes of the play are reviewed, noting its origins in indian legends. ‘naaga’, an adaptation of girish karnad’s ‘nagamandala’ featuring mukesh, methil devika and sandhya rajendan, was a spellbinding play that combined myth and folklore to question beliefs.
Literary analysis, indian classical tradition - a study of girish karnad’s naga-mandala in light of kuntaka’s vakrokti siddhanta. 5 chari, a jaganmohana “girish karnad’s hayavadana and nagamandala: a study in postcolonial dialectics” the commonwealth review 72 (1995-96) p148-153 6 rangan, v “myth and romance in naga-mandala or their subversion” girish karnad’s plays: performance and critical perspectives edtutun mukherjee. Karnad reverses these roles in naga-mandala by personifying the story created by the playwright (a man) as a woman the role reversals can be read in such a way that a man can also be the creator of humankind like woman the story itself becomes the narrator in naga-mandala and therefore has an independent existence.
Nagamandala (kannada: ನಾಗಮಂಡಲ) is a kannada language film directed by ts nagabharana written by girish karnad and released in 1997, the film is named after a dakshina kannada's ritual called nagamandala it stars prakash raj and vijayalakshmi in the lead roles the film, upon release, went on to win many prestigious awards for its content and screen adaptation. Nagamandala (kannada: ನಾಗಮಂಡಲ) is a kannada language film directed by ts nagabharana written by girish karnad and released in 1997, the film is centered on three people, appanna (prakash raj), his wife rani (vijayalakshmi) and naga, a cobra, who can assume the form of a human being (prakash raj).
Indian playwright genius girish karnad’s ‘nagamandala’ was staged by the city-based cultural forum ‘hrudaya’ girish karnad’ ‘nagamandala’ that made its stage debut in 1984, is one of those plays that has come a long way. 1 mythical structure in girish karnad’s nāga-mandala dolors collellmir universitat rovira i virgili [email protected] abstract girish karnad’s play nāga-mandala is consciously anchored in the ancient theory and tradition of indian theatre.
In that context, girish karnad’s plays reflect upon contemporary indian cultural, religious, psychological and social life through the use of myths, folktales and historic legends his ‘naga-mandala’ revolves round the tale of rani who is treated as a dumb member by her father and her husband, with neither voice nor choice.
Girish karnad's naga-mandala: problematising feminism anupama mohan i cannot invent plots therefore i use myths i cannot invent stories and hence go to history. The most renowned indian playwright girish raghunath karnad’s play naga-mandala: play with a cobra (1990) is a dramatic transmutation of two oral tales of karnataka his plays prove his mettle in folk theatre convention and indigenous culture and tradition.