Question 3: Give a brief description of the trend towards social realism in Kannada drama. Can you find equivalences in drama in other Indian languages? Give examples.
Ans: Kannada is among the earliest Dravidian languages, with about 5 crore people speaking it in its different varieties. It is Karnataka’s official language. one of India’s four southern states Kannada has been spoken for around 2500 years, while the Kannada written form has been in use for approximately 1900 years. Kannada followed a similar path to other Dravidian languages in its early stages of development. Tamil and Telugu, in particular. Kannada, like Telugu, was heavily impacted by Sanskrit language and literary traditions in subsequent centuries. Kannada dialects differ from area to region. The written form, on the other hand, is more or less consistent throughout Karnataka. Kannada has around 20 dialects, according to linguists. The Kannada script is based on the Brahmi script.
Kannada, the purest of the Dravidian family, is almost as old as Tamil. The Kannada language used to spread considerably farther north than what is now Karnataka, but it was forced back by the Indo-Aryan Marathi. The earliest bits and pieces of Kannada literature extant (pre-800 AD) are inadequate to stake a claim to the genre’s origins.
The tendency toward social realism in Kannada theatre began after India’s freedom. With India’s independence in 1947 came the promise of freedom, and Kannada literature sprang out as a new genre. Gopalakrishna Adiga was the torchbearer for this practise. The Navya poets were disillusioned academics who wrote for and like them. In this genre, the complexity of language usage and the significance of technique to literature grown exponentially. Leading authors in this movement include U.R. Anantha Murthy, P. Lankesh, A.K. Ramanujan, K.V. Tirumalesh, Shantinatha Desai, Subraya Chokkadi, Sumathindra Nadig, H.M. Chennayya, GangadharaChittala, V.K. Gokak, K.S. Nisar Ahmed, and Vaidehi. In the last 50 years, Navyoltara (Postmodernist) Kannada literature has been intimately linked to societal issues. The Bandaaya and Dalit genres of Kannada literature sprang from the tyranny of the caste system. The Streevaadi (Feminist) poetry genre arose from feminist movements in Indian society. In the twentieth century, short tales were extremely popular. Leading writers in this trend include Siddalingayya, Devanuru Mahadeva, Amaresh Nugadoni, Mogalli Ganesh, Boluvar Mahammad Kunhi, and Sara Abubakar.
Samsakara is a book that depicts the social realism of post-independence India. U.R Anantha Murthy wrote it in Kannada in 1964. Anantha Murthy recounts meeting a former military soldier when he was 13 years old and learning about his relationship with one of the most beautiful black females from the untouchable huts, as well as their elopement, and how he wrote a tale about it. The narrative was intended for a Kannada, Sanskrit, and English-language journal that he and a few other pals published. He had crafted the narrative symbolically to keep the actual storey from the community’s elders. The girl reminded him of Matsyagandha, the fisherwoman who had fallen in love with the ascetic Parashar.
Samskara possess multiple traits or characteristics that are completely contradictory. It looks back at Indian culture, utilising all of its resources and patterns, while also looking forward to current times, focusing on the modern man’s search for his genuine self, true identity. A sensitive individual living in a civilization in change, such as ours, would inevitably suffer the crisis of identity that Pranesacharya experienced. Ours is also an era of denial, and it requires a certain amount of courage to accept responsibility for what we’ve done and the repercussions of our actions. Furthermore, when values are in change, making decisions becomes much more challenging.
Yes, we do discover equivalences in other Indian languages’ theatre.