Karnad went to the spot the next day to condemn the act, and made sure the team could perform without fear, Gundappa said.Īt the meet, another senior Kannada theatre practitioner Dr Shripad Bhat said that Karnad was jealous on reading Dr U R Ananthamurthy’s Samskara, but that he later recreated Samskara as a film and proudly called it his asset too. At a condolence meet in Bengaluru on Monday, senior theatre practitioner and activist Gundanna C K recollected how Karnad had supported artists of the cultural organisation Bengaluru Samudaya when theywere attacked for staging a street play ‘Kesari Bili Mattu Hasiru’. His contributions as an activist cannot be ignored.
Karnad was always outspoken and firm about his thoughts and ideology. Tughlak has been translated to various languages and has reached a much wider audience. There are houseful shows for Hayavadana and Tughlak even today. Karnad’s plays such as Yayati, Tughlak, Hayavadana, Agni Mattu Male and Tale Danda are extremely popular, and loved by audience across the country. His performances in Nishant (1975) as a helpless husband who later organises villagers to combat upper caste goons who raped women, and in Manthan (1976) as the disciplined government officer who runs a milk cooperative movement, were so neat that I became a fan all over again. When I developed an interest in Hindi parallel cinema, I watched Karnad’s films too.
Karnad had written Tughlak around 50 years ago, but we would pick lines from it while discussing current politics. It took me a few shows to understand the brilliance of the dialogues and the play overall.
I was later introduced to his writings when I got the opportunity to act in Tughlak, a play written by him. Karnad played the father of Swami, and for me it was a pleasure to know he had reached people across the nation through the series. The first time I came across Girish Karnad was in Shankar Nag’s ‘Malgudi Days’, when I was a kid.
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