The Two Great Indian Epics The Indian mythology consists of two great ancient epics The Mahabharata and The Ramayana. The Mahabharata was authored by Veda Vyasa known so as he had also compiled the four Vedas. Ramayana was authored by Valmiki. Both epics revolve around the concept of dharma and in both epics the protagonist is an avatar of Vishnu. Bhagavad Gita: What Krishna told Arjuna Bhagavad Gita is one of the most important texts in Hinduism as in it, god speaks directly to man.
The Bhagavad-Gita is significant as a scriptural form in that it contains the idea of revelation occurring through incarnation. God (Visnu) incarnates himself in the human form of Krishna, a prince and chariot driver, to teach people divine truth. (Symbolized by Arjuna, the warrior whose chariot Krishna drives) The story of The Bhagavad-Gita is start with Krishna joins Arjuna on the eve of battle between two related dynasties, the Pandavas and the Kauravas. Arjuna sees his own relatives on both opposing sides and is full of anxiety. Disguised as his charioteer, Krishna explains how one should follow one’s calling in life and for Arjuna this is as a warrior.
Just about any piece is visible to this day, especially within the diversity of performing arts in the different cultures of the Indonesian people groups, like in dance, wayang, etc. India was able to contribute to the culture and forever altered the traditions and arts of the nation. Indonesia continues to
The film “Rang de Basanti” depict today’s generation holding its own problem trying to find a purpose in life. It shows that today the people are free but somewhere deep it is still the same British India. The film is about six college student who love to have fun very much but gradually they get themselves into the history of India’s freedom against British rule which let them transform to the person who will sacrifice for its country. The film starts with the voice of Karan where he encouragingly says that ‘the beginning has to be made somewhere’ against the British imperialism. Different political parties and certain societies see the western culture to be threatening and dangerous which needs to be cleared out.
His works have given people outside Indian nations to peek into the cultures which revolve a fictitious South Indian town, Malgudi. His works include novels like ‘The Guide’, ‘The English Teacher’, and ‘A Tiger for Malgudi’. Both writers regardless of somewhat different backgrounds share a common trait in which both writers employed the use of realism in their works. Based ‘The Ruined Nest and Other Stories’ and ‘The Guide’, both Tagore and Narayan portrayed the bits and pieces of the Bengali and Indian lives in their true forms eliminating the idealistic
While, doing so, mainly be on man-woman relationship with the institution of marriage in the post-colonial society. Karnad is India’s best living playwright whose journey of a truly ‘Indian Theatre’ which can be true to its traditions and at the same time responsive to contemporary concerns. Drama being an audiovisual medium of expression has been a very effective and powerful genre in the world literature. Indian Drama has development of drama from Greece, Roman, England and India give special importance upon the fact that is has always been an included as part of a whole culture, highlighting and value of moral commitments, religious convictions, philosophical approaches, and social and political changes in various countries. Drama is a mimetic representation of life combining in it the real and imaginary events, art and reality and presenting the events and characters with in a dimension of space and time.
First the article explores current methods employed to examine theatre productions, specifically, Patrice Pavis, John Whitmore, and Patrick Finelli and Richard Schechner and Fischer-Lichte. Next, scholarly literature on the Natyashastra by Philip Zarrilli, Kapila Vatsyayan and Sreenath Nair and Arya Madhavan and others are examined. Finally, tables on the specific rasa and their descriptions are compiled and they are used to ananlyse Dattani’s play. This article treats Dattani’s play, its methodology, results and outcomes as individual case study rather than absolute, self-contained product of studies on the Natyashastra. Before this article turns to the specific production and it methodology, though, the next section provides a wider picture of discussions about the theatre
Focussing more on the style, and incorporating the audience more into the dramatic art, these experimental theatrical forms revolutionized the western canons of drama. This paper entitled Deconstructing Character and Violence: Parallels in Antonin Artaud’s Theatre of Cruelty and Ritual theatre of Indian tradition attempts to make a preliminary investigation of the similarities and parallelisms between the theory and practice of a major experimental theatre of the west of the recent times –the theatre of cruelty propounded by French playwright Antonin Artaud and that of the traditional Indian theatre, particularly the ritual theatre of India with an ancient lineage. Rather than focusing upon the dramatic literature or comparing the dramatic literature of east and west, the attempt is to focus upon the presentation of these theatres in front of the spectators and the techniques used, and the problems related to the presentation of
Most interestingly, writes the twentieth Century Celebrity Kancha Ilaiah(1996) that “Instead of depending on Western methods, Phule, Ambedkar and Periyar spoke and wrote on the day- to- day- experiences of the Dalit castes. He has made a pertinent point in this regard, stressing that 'personal experience brings out reality in a striking way'. He would argue that this is the only possible and indeed the most authentic way in which the deconstruction and reconstruction of history can take place (Why I am not a Hindu: A Sudra Critique of Hindutva Philosophy,Culture and Political
Girish Karnad is well-known for his reworking of mythical structures in his plays. An USA based notable Indian critic Moutushi Chakravartee has drawn a parallel between Shakespeare and Girish Karnad for their dexterous execution of derivative materials in their plays: Indeed, all his plays derive from pre-existing material, yet, like Shakespeare, he transforms the raw material into a unique drama of human emotions and feelings. (183) Karnad has persistently focussed on the crisis of man and woman relationship. Being a staunch supporter of individualism, Karnad contends: “a person’s need to be seen as an individual, as an entity valuable in itself, independent of family and social circumstance” ( Three Plays 9). However, Karnad’s creative spirit has deep roots in Indian culture.