Born on 19th May 1938, Girish Karnad is a playwright screen writer, actor and movie director He is by all critical voices considered to one of the doyens of modern theatre: Badal Sirca, Vijay Tendulkar, and Mohan Rakesh. He is the recipient of Jnanpith award. He uses history and mythology as a tool for his social radicalism. His plays have been with pride produced and directed by Ebrahim Alksazi,, B.V. Karanth, Alyque Padmsee, Prasanna, Arvind Gaur, Shyamanand Jalan and Amal Allana.
The present paper tries to explore the crypto Marxist philosophy in the play HayaVadana Although there is a thin filmline difference between Marxism, socialism, and Arya Samaaj, and especially the folk style of presentation in Indian theatre , Karnad’s thematic and theatrical style reveals the undercurrents of Marxism which keep peeping out here and there..The thesis aims at first finding the elements of Marxism or the theatre of protest emerging in theatre in general. It then explores the Marxist elements which willy- nilly infiltrate into the dramatic structures of Girish Karnad’s plays . These thematic structures expose the Indian institutions of marriage and family; hegemony of patriarchy; irrepressible female erotica; existential revolt’ and extreme faith in religion; feudal hierarchies; social myth making ; and lastly the evil of Sati. The paper also attempts to bring out the elements of Marxism with the help of the the elements Yakschagaan theatre and the pan-Indian classical