Authors :
Anantakumar; Nagesh.V.Bettakote
Volume/Issue :
Volume 9 - 2024, Issue 3 - March
Google Scholar :
https://tinyurl.com/52z29kn6
Scribd :
https://tinyurl.com/mr284d6d
DOI :
https://doi.org/10.38124/ijisrt/IJISRT24MAR1932
Abstract :
In the literary heritage of modern Kannada
theatre, innovative methods of writing such as stories,
poetry, novels, etc., which are limited only to plays, should
be taken into consideration. After the 19th century, modern
Kannada theatre under the influence of Western theatre
took a path of innovation and expanded its range of
features. Along with the Kannada Renaissance literature,
the modern Kannada dramas that came to light are mostly
imitations of Western and Indian Sanskrit dramas. Apart
from that, important Western plays like Samuel Beckett,
Eugène Ionesco, Jean Genet, Arthur Adamov, Harold
Pinter, Sart, Albert Camus, Brecht, are found to have built
upon modern dramas on a satvika basis. Following this
Kannada Absurd dramatists can be divided into two
groups. The material portrays incongruous things through
a coherent technique using coherent language. Playwrights
like Kirtinath Kurta Koti, G.B. Joshi, Girish Karnad can
be identified. The second group includes Chandrasekhar
Patil, P. Lankesh, Chandrasekhar Kambar can be named.
Kalyan Karnataka dramatist Chandrakant Kusunur
is popular among Absurd dramatists. He wrote the most
plays among the Absurd plays. We did not see any western
influence in many of his plays. He has written Ani Bantani,
Dindi, Mane, Rekke, Vidushaka. Ratto Ratto Rayana
Magale etc. play an important role in the development of
Kannada anomaly. Western Kannada Absurd plays can
thus be observed in a geographically adequate traditional
setting. This article attempts to analyse the different types
of dramas, and dramatists, who contributed to the field of
Absurd dramas in Kannada theatre due to the influence of
western Absurd dramas in Kannada drama literary
tradition.
Keywords :
Absurd, Civilization, Conventional Plays, Rationalism, Waiting For Godot, Philosophical, Symbols, Audience.
In the literary heritage of modern Kannada
theatre, innovative methods of writing such as stories,
poetry, novels, etc., which are limited only to plays, should
be taken into consideration. After the 19th century, modern
Kannada theatre under the influence of Western theatre
took a path of innovation and expanded its range of
features. Along with the Kannada Renaissance literature,
the modern Kannada dramas that came to light are mostly
imitations of Western and Indian Sanskrit dramas. Apart
from that, important Western plays like Samuel Beckett,
Eugène Ionesco, Jean Genet, Arthur Adamov, Harold
Pinter, Sart, Albert Camus, Brecht, are found to have built
upon modern dramas on a satvika basis. Following this
Kannada Absurd dramatists can be divided into two
groups. The material portrays incongruous things through
a coherent technique using coherent language. Playwrights
like Kirtinath Kurta Koti, G.B. Joshi, Girish Karnad can
be identified. The second group includes Chandrasekhar
Patil, P. Lankesh, Chandrasekhar Kambar can be named.
Kalyan Karnataka dramatist Chandrakant Kusunur
is popular among Absurd dramatists. He wrote the most
plays among the Absurd plays. We did not see any western
influence in many of his plays. He has written Ani Bantani,
Dindi, Mane, Rekke, Vidushaka. Ratto Ratto Rayana
Magale etc. play an important role in the development of
Kannada anomaly. Western Kannada Absurd plays can
thus be observed in a geographically adequate traditional
setting. This article attempts to analyse the different types
of dramas, and dramatists, who contributed to the field of
Absurd dramas in Kannada theatre due to the influence of
western Absurd dramas in Kannada drama literary
tradition.
Keywords :
Absurd, Civilization, Conventional Plays, Rationalism, Waiting For Godot, Philosophical, Symbols, Audience.
