Wholeness and Hybridity: Folklore and Identity in Karnad's Play

Abstract

Karnad’s play is always composed art with dramatic technique and theatrical representation. He has always rewritten the folklore with modern technique. Through this he questionings the identity, fidelity and desire which is reflected in this society but refused to talk by anyone or at-least accept the fact. Nagamandala is an one-act play, in this play it dealt with the love between a human girl and a serpent who takes a human form. It exposes the male-chauvinistic society which has framed an extraordinary structure for whole women. How should a woman lead her life what she should and shouldn’t do. In Hayavadana, the play describes about completeness, where the main character Hayavadana where the person has the horse-headed man. He wanted to become complete. In this play the theatrical metaphor the main characters are in love triangle. Where Padmini couldn’t know inbetween whom she loves Devdatta or Kapila. She falls in love with Devdatta’s brain and Kapila’s physic. Still her dream becomes true by a mistake but that dream never last for long. Both of them gets back their physic in few months. Hayavadana prays to goddess to become complete with wholeheartedly. He is turned into a celestial white horse with divine look.