Karnad talks about his life as a writer and cultural administrator, his sudden foray into cinema and the status of Kannada literature
Karnad talks about his life as a writer and cultural administrator, his sudden foray into cinema and the status of Kannada literature
It’s a late summer evening; The playwright is sitting by a window in his Bangalore home, looking at a tree in the garden, unmoved by the sounds of traffic that create a continuous sound background.
“Look at it…At the end of the branch, it’s… It’s a fruit bat, sucking the mango fruit. If it flies you’ll see the mango… Ah there, it’s gone “
The sound is unmistakable, despite the tired juices.
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“I must say it’s been a lot of fun writing plays.” he is Girish Karnadispeaking with writer and translator Arshiya Sattar and filmmaker/teacher Anmol Tikku in a series of conversations that took place a few days before his death on June 10, 2019. Sitting on his terrace, he was fitted “with an oxygen tube in his nose and an oximeter on his finger”. Karnad spoke about his life as a writer and cultural administrator, his time with the Sangeet Natak Akademi, his accidental foray into cinema (“I was never interested in films, I hated films”), and the state of affairs. I talked. Kannada literature and theatre.
two year chase
The recordings are the backbone of a new podcast series from Bangalore International Centre, anchored by Sattar and Tikku, and supported by Nilekani Philanthropy. As Sattar. explains in the introductory episode of The river has no fear of memories The meetings resulted from a two-year search in which Karnad consistently refused to commit, until suddenly one day, he agreed to what was an incomplete attempt to document his memories. But what they achieved is remarkable, offering a glimpse into the singular oeuvre and how it came to be.
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The reminiscent voice of Karnad is complemented by fellow travelers from Kannada theater and literature – Vivek Shanbaug, Shanta Gokhale, and Sunil Shanbagh, among others – who give context and perspective to the memories. Says Sattar, “Some important things kept coming up in these conversations. “Kannada Literature, Indian” Theaterexistentialism, being a public intellectual, the art and craft of playwriting.” The nine episodes that make up the series will unfold around these themes, creating an oral history from which a contemporary theater or literature student can learn much. Through each episode there are short enactments of Karnad’s plays, rendered Bangalore Theater artist.
a view of Naagmandal here, from another surrender There, a brief read from broken images Which calls into question the authenticity and motivation of the author. These brief interludes bring Karnad’s work to life and serve as a teaser for those who may not be familiar with it. There’s a little backstory to each – Karnad talks a bit about how he came to be in this introductory episode, perhaps his most famous play, TughlaqA take on the mad emperor who is a fable for our times.
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Admittedly, the tone of the podcast is celebratory, with Sattar and Tikku playing admiring narrators with exchanges that can seem a little self-conscious at times. At one point, Sattar comes close to shouting loudly, “Oh, Naagmandal…is my all-time favorite play!” But there’s a quick pivot to reading the play that leads us to the source of the wonder and invites us to share in it.
The river has no fear of memories Combines the art of biography with cultural history and packs it into a podcast, making good use of the medium. Ghostly Theme Music, Composed from a Song surrenderTakes us in and out of each episode, feeling grateful for what is nothing but what has been given.
The Hyderabad-based writer and educationist is a clean woman fighting a losing battle with the chaos in her head.