Indian English Drama Essay Example

stage-setting, music, plot construction, characterization, dialogue,and acting. According to legend, as humanity transitioned from the golden age to the silver age, people became consumed by sensual pleasure and experienced emotions like jealousy, anger,and desire.

During that time, the world was populated by various divine beings such as Gods, demons, yakshas, rakshas, and nagas. Lord Indra then requested God Brahma to provide something that would both educate them and be visually and audibly pleasing. After careful consideration, God Brahma devised the concept of Natya Veda by combining elements from the four Vedas - incorporating dance from the Rig Veda, song from the Sama Veda, mimicry from Yajur Veda, and passion from Athar Veda.

Vishwa karma constructed a stage in the Indian heaven that was managed by Bharta. Bharta's 'Natyashastra' is a comprehensive treaty that includes dance, music, poetics, and general aesthetics, all of which are crucial to classical Indian drama. According to Bharta, drama involves imitating people's actions and behavior (owashanukri lirnaalym). Thus, drama is unique as it encompasses the eight fundamental emotions of love, joy, anger, sadness, pride, fear, aversion, and wonder.

The text explores different situations experienced by men, whether positive, negative or neutral, and how these situations can foster courage, amusement, happiness and advice. According to the dramatic theory of Bharat muni in the sixth chapter of 'Natyashastra', Natya is defined as a combination of rasa, bhavas, abhinayas dharmics, vrittis, provrittis, siddhis avaras,instruments, song and theatre-house (Bharat Gupt: 86). Sanskrit drama thrived until the fifteenth century but waned due to invasions on India. Nevertheless,
with the arrival of the British in India,
Indian drama regained its strength.

The western

influence in India has awakened the critical impulse that was dormant, resulting in Indians being exposed to new ways of life and literature. This exposure has facilitated the exchange of ideas and forms of expression. According to Iyengar (4), this awakening gave rise to a new drama in different Indian languages around 1920, which was heavily influenced by movements like Marxism, Psychoanalysis, symbolism, and surrealism. However, unlike poetry and fiction, Indian English drama has faced challenges and not experienced similar growth due to various reasons.

Many renowned writers such as Ravindernath Tagore, Shri Aurbindo, and Bharathi Sarabhi attempted to overcome these challenges and introduced new possibilities in the genre. However, despite the remarkable poetry, diverse themes, technical skills, and the symbolic and moral significance of their works, this group of playwrights before India's independence did not prioritize the acceptance and stage-worthiness of their plays (Prema Nandan kumar: 1). Indian drama took a significant step forward when the Kendriya Natak Sangeet Akadmi was established in January 1953. Another milestone was reached when the National School of Drama set up the Sangeet Natak Akadami in 1959.

In the 1960s, the modern Indian theatre underwent a transformation by blending different styles and techniques from Sanskrit and Western theatre. This resulted in a more dynamic and expansive approach to creativity. The year 1972 was particularly significant for Indian theatre, as it marked a turning point. Playwrights such as Badal Sircar, Vijay Tendulkar, and Girish Karnad played a pivotal role in modernizing Indian theatre. They introduced bold innovations and conducted fruitful experiments in terms of themes and technical skills.

Using legends, folklores, myths, and history with great

success, Indian playwrights have transcended regional boundaries and produced numerous excellent works at the national level. Consequently, they not only represent Indian drama nationwide but also explore universal aspects of human life in India. For instance, Mohan Rakesh's plays illustrate the complete lack of communication between individuals in modern society, aiming to present something groundbreaking.

Nirad Chaudhry observes that Mohan Rakesh diverges from pseudo modernism and traditional symbolism in Hindi drama. Instead, he focuses on the concept of 'non-communication' as a true tragedy of human life - the failure of modern individuals to understand each other (Badal Sircar: 25-26). Rakesh accomplishes this by using historical characters to shed light on real-life issues. On the contrary, Badal Sircar chooses contemporary situations to establish a new society where individuals can work according to their own desires without exploiting one another.

Badar Sircar, an influential figure in Indian theatre, is renowned for his work "Third Gaze; The theatre of Badal Sircar." According to Rustom Bharucha, it represents the most non-commercial political theatre in India (Raustom Bharucha:127). Sircar's plays explore the existential mindset of contemporary individuals, while Tendulkar's works delve into the challenges faced by the middle class in India. Both playwrights depict isolated individuals struggling amid unfavorable conditions and a hostile environment.

Shoma Choudhary (65) states that Vijay Tendulakar believes our ideas are deeply ingrained in us from a young age, affecting our attitude. Tendulakar's plays, including 'Sakharam binder', 'Ghashiram Kotwal', and 'Silence! The Court', delve into themes of love, sex, marriage, and moral values in Indian society. He extensively uses irony, satire, pathos, and mock elements. Tendulakar has received prestigious awards such as the

Kamladevi, Chattopadhaya, Sangeet Natak Akadmi, and Kalidas Samman awards.

Girish Kumar Karnad abolished the traditional three-act form of plays and created new models to bridge the gap between modern and traditional theatre. He believes that the traditional form needs to be utilized in order to revitalize Indian English Theatre. According to Karnad, the past is never completely lost, but rather coexists with the present as a continuous flow. He states, "A rich variety of theatre form still exists, with a continuous history stretching over centuries" (Girish Karnad:11). This new phase of Indian theatrical development coincides with Karnad's personal development as a dramatist.

In addition to his work in theatre, Karnad has also directed feature films, documentaries, and television serials. He has represented India internationally as an ambassador of art and culture. Karnad is known for his innovative approach to combining traditional and modern forms of drama and content. Through the use of traditional forms, he aims to offer a unique perspective on contemporary reality by acknowledging that the complexities of post-colonialism have roots in both colonial and precolonial times. Thus, it is impossible to fully separate the experiences depicted in precolonial, colonial, and postcolonial literature.

The play 'Tughlaq' by Karnad showcases the interconnectedness of different playwrights, highlighting the evolving times and the diminishing gap between rulers and the ruled. Karnad, like T.P. Kailasam and Rangacharya, employs myths and legends to underscore the absurdity of modern life and humanity's unyielding pursuit of perfection. Over recent years, India has witnessed the emergence of talented playwrights such as Manjula Padmanabhan and Mahesh Dattani. Manjula Padmanabhan gained global recognition with her futuristic play 'Harvest', which explores

the exploitation of the human body in the 21st century.

Padmanabhan presents a society that is both dehumanizing and frightening. It depicts mothers who are willing to trade their sons for rice. However, her plays have an intellectual nature that may not be suitable for the theater. In contrast, Dattani is considered the true heir to Girish Karnad's legacy and is recognized for his groundbreaking contributions to English drama. Not only does he educate through his plays, but he also excels as a stage director and sociologist, exploring the complexities of society. Dattani emerges as a captivating playwright who delves into postcolonial contradictions on various levels. He places women at the forefront of his dramatic universe and can be described as an innovative feminist.

The author was greatly influenced by the works of Tennessee Williams, Arthur Miller, and playwright Madhurye from Giyratti. Drawing inspiration from them, he was particularly impressed with how Madhu Rye depicted middle-class Giyrati hypocrisies in his works (Lakshmi Subramamyam: 13-14). In his own play 'Tara,' the author aims to shed light on a supposedly progressive and forward-thinking modern society. Through this play, he exposes the prevailing male chauvinism in today's society and highlights the harsh reality that women are consistently subordinate to men.

Homosexuality is a significant subject chosen by Dattani in 'Bravely fought the Queen'. Dattani emphasizes the absurdity of the situation where a woman is trapped by her birth. Dattani also raises several questions regarding homosexuality, such as whether it is an assertion of individuality, guided by conviction, leads to meaningful goals, and what is the purpose of marriage for such individuals. Additionally, Dattani explores

the idea of homosexuality as a quest for an exclusive identity. In 'Seven Steps Round the Fire', the popular play, Dattani focuses on the theme of eunuchs, discussing their identity, constitution, and connotation.

Dattani's plays, such as 'Where there is a Will' and 'Do the Needful', depict complex modern urban families where traditional patriarchal norms clash with feminist ideals. One theme that emerges from his works is the erosion of the sanctity of marriage, which has become a mere compromise for personal gain. In line with the postcolonial condition of writing, Dattani explores the dichotomy and challenges faced in society. He suggests that change takes time and that people often become more liberal out of necessity rather than choice. (Vandana Datta:157)

Dattani credits his success to his theatre company, Playpen, which was formed in 1984. He is the first Indian playwright to receive the Sahitya Akadani award and aims to use theatre as a powerful medium for social change. His plays cover a wide range of themes and he is known for choosing the most topical and controversial issues to portray. A close examination of his plays also allows for an intriguing exploration of stagecraft in Indian theatre, as Dattani has introduced innovative techniques.

The previous stage was a basic platform built in a palace or temple courtyard as a backdrop. However, Mahesh Dattani's stage setting is much more intricate. It includes multilevel sets that allow the audience to see the entire interior of the house. Italian Director Jhon Mckae praises Dattani's innovative use of theatrical space, which includes multiple levels, breaking free from the limitations of the Proscenium, and creatively using

lighting to create an illusion of height, breadth, and depth.