Could The Dreams of Tipu Sultan then just be a radio play commissioned by the BBC for the 50th anniversary of Indias independence When we finally get to talk to Girish Karnad, he admits that the minutely researched stage play (completely rewritten from the hour-long radio play) was more than his tribute to a Kannada legend. Taledanda, based on the 12th Century Lingayat saint and founder of the Basava movement, was a statement too, at a time when a silanyas (foundation) of the Ayodhya temple at the site of the Babri Mosque was sending community pulses racing.Įven his very first play, Yayati questioned social ethos of bondage and responsibility. The statements did not stop then, and have not spared social mores or political ethos since. Tughlaq has been interpreted as a young playwrights rejoinder to Nehruvian policies. Had the fire died down in the angry young man who wrote Tughlaq in Oxford, where he was a Rhodes scholar working on a Masters degree in philosophy, politics and economics in 1964. I really have nothing to say, he protests, when we call him at his Bangalore residence, the afternoon before. Karnad was in New Delhi recently, not for the launch of his first stage plays originally written in English (all the others were English translations by him of plays written in Kannada), but to launch someone elses book (The Oxford Companion To Indian Theatre). He has been chairman of the Sahitya Akademi and director of the Nehru Centre in London.
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Subsequently, of course, he was awarded the Padma Bhushan in 1992, the Sahitya Akademi Award (for Taledanda in 1992) and the Jnanpith in 1999. Even though, by then, Karnad had made his place in the sun as a playwright, actor and film director, recognised by a Padma Shri and the Presidents Silver Medal (for Kaadu,) in 1974. It was also the first time Girish Karnad (the former FTII director and by then, an established Kannada playwright) meddled with the screenplay of a film he was acting in.īut most of all, Manthan transformed the halo around Girish Karnad (like that of his former student at FTII, Naseeruddin Shah) from the quiet glow of fame, to the poster-size aura of mass adulation.
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It was the first movie screen cinema produced by the Gujarat Cooperatives, of whom it was about. IN 1976, Manthan created a churning (for thats what it means) in more ways than one, and not just because it transported a former director of the Film and Television Institute of India (FTII) and his students to matinee idols.