Girish Karnad Tv Serials

When we were small, owning a television set was a rarity and I don’t remember when but my grandfather ordered my father to go and buy a television in order to avoid my siblings going to our neighbor’s house to watch T.V. So it was Dyanora a black and white T.V. With a sliding door that came into our house. In days of cable TV and DTH, today’s youngsters and kids would laugh at the bullock cart age we were in where an antenna which was on top of the building terrace/roof had to be adjusted all the time during the rainy season or there was a shake even when a crow sat on it! Coming back to the people who I met/saw that revived my Doordarshan memories were Girish Karnad who I remember for his role in the serial Khandaan. In fact in his speech he remembered Mr.

Vinod Doshi as a person who was very humble and never made them feel that he was a big industrialist helping them. Once when he asked them (Girish Karnad and Arvind Deshpande, who used to run a theatre company) how he could help, he immediately satisfied their big need of a rehearsal space. He gave them a whole floor around 3000-4000 square feet of space in Walchand Terraces on Tardeo Road, opposite the A.C. Market which they used without any interference for many years. One more person from the serial Khandaan that I met was Sunila Pradhan.

Many will remember her as the wife of the industrialist whose character was played by Sreeram Lagoo. I ran into Chitra Palekar of the Marathi movie Mati May fame which starred Nandita Das and remembered that she and Amol Palekar had directed the serial Kachi Dhoop (Amol had acted in it too) which also starred their daughter Shalmalee. Then there was a bearded gentleman that I couldn't place but later realized that he was the guy who was the newsreader for years in the Marathi ‘ Batmya’.

His name is Anant Bhave. And sitting in the auditorium I chanced upon Meena Naik who used to host a Marathi children’s programme called KilBil and also Sulabha Deshpande who starred in Choti Baadi Baatein and a host of other serials and Marathi and Hindi movies. As watching T.V. Was a fascinating novelty, we used to watch everything that came our way.

Children’s programme like the Marathi ‘ Kilbil’, the Gujarati “ Santakukdi’ and the English ‘ Magic Lamp’ were very popular amongst us. Then programmes like Amchi Mati, Amchi Manse for farmers, Phool Khile Hai Gulshan Gulshan, a talk show in the seventies aka today’s Coffee with Karan hosted by Tabassum, Chhayageet a programme with a medley of Marathi/Hindi film songs that later became Chitrahaar, the famous Chimanrao starring Dilip Prabhavalkar of Munnabhai fame which was a show based on C V Joshi’s short stories, the Baban Prabhu-Yakoob Sayeed comedy show and ‘ Gajra’, a Marathi entertainment programme. There would be one Marathi and one Hindi film shown every week in the evening either on Saturdays or Sundays. Then there was Sports Round-Up hosted by Fredun Divitre. My grandfather used to watch Batmya everyday at 7:30 pm. I remember Bhakti Barve, Pradeep Bhide and Anant Bhave who were regulars at Batmya. It is said that Smita Patil too started her career by giving the Marathi Batmya.

Soumya And Pari

It was preceded by Udyache Karyekram, a schedule of the programs that would be held the next day. Saptahiki used to show a schedule of programmes for the next week. I wonder if they still show Aapan Yaana Pahilat Ka, a flash of people who went missing. This must have done a great service to the families of missing people and I wonder if any of the channels today would do this community service. Lots of shows used to be shown featuring classical programmes.

Hotstar Tv Serials

There were also some English shows like What’s the Good Word with Sabira Merchant, Fire Ball XL5 and Der Alte – The Old Fox. These were days before the arrival of the T.V. Serials or soaps.

The first serial that became a huge hit was Hum Log and later Buniyaad. I remember that when they were airing the last episode of Buniyaad, we had to go for a wedding at the Taj Mahal and hurried back to catch the episode wondering on the way why there were no lights anywhere on the way home.

We realized that we had foregone the ice-cream at the Taj for nothing as Bombay had no electricity and was blacked-out due to the tripping of some grid. Then there were hundreds of serials that you would remember as they became very popular. Yeh Jo Hai Zindagi directed by Kundan Shah with Kishore Kumar’s title song and starring Shafi Inamdar,Swaroop Sampat, Rakesh Bedi, Satish Shah and Tiku Talsania and the dialogues “thirty years ka experience’ and “yeh kya ho raha hai’ were on everyone’s lips. Two other serials that I remember very well were Chunauti and Subah which were shot in my college, the Wilson College at Chowpatty. Many of my college mates had acted in them as there were auditions held at the college itself.

The serials were on college life. Ados Pados, a serial directed by Sai Paranjpe of Chasme Baddoor/Katha fame was truly hilarious. It was about life in a housing colony and I remember a family had six kids whose names were A, Ba, Ka, Da, and E like the first five letters of the Marathi Barakhadi. Then the carrot chewing Karamchand, a detective serial with his assistant Kitty starring Pankaj Kapoor and Sushmita Mukerjee. Nukkad, the serial with a medley of characters touched upon issues faced by the common man and Rajani made Priya Tendulkar immortal when she took up various civic and social issues. Kachi Dhoop which featured a young Bhagyashree Patwardhan had Ashutosh Gowarikar as her boyfriend in the role of a tuition teacher! Khandaan was a good drama series on an industrial family and starred Sriram Lagoo, Sunila Pradhan, Mohan Bhandari, Girish Karnad, Neena Gupta, Rohini Hattangadi, Shekhar Kapur and Jayant Kriplani.

Quite a full house. Surabhi took you on a travel and cultural.

Journey with Siddhartha Kak and Renuka Shahane. Then there were so many others that I will just list like Idhar Udhar, Mr Mrs, Ek Do Teen Char, Wah Janaab with Shekhar Suman and Zarina Wahab, R.K. Narayan’s Malgudi Days which till date is a popular ring tone, Star Trek, Choti Baadi Batein, Udaan which made Laltaji urf Kavita Chowdhary very popular, Gul Gulshan Gulfaam, Wagle Ki Duniya starring Anjan Srivastava and Bharati Achrekar, Bharat ek Khoj based on Nehru’s Discovery of India, Chanakya, Dekh Bhai Dekh, Isi Bahane, Jaspal Bhatti’s flop show, Bikram aur Betal, Paying Guest, Mr.

Yogi with Mohan Gokhale, Zabaan Sambhaal Ke.

. Girish Karnad Girish Karnad Profile by Malvika Pathak BACK Classifying Girish Karnad is a difficult task, since he has been prolific in various fields.

He is well-known as playwright, director, actor as well as for the numerous important positions he has held in the field of Indian culture in general and for the performing arts in particular. No wonder, then, that he is so interesting to meet, and that his talk in SOAS about his work could have gone on for much longer than time allowed. Girish Karnad was born in Matheran, near Bombay, in 1938. He received a first-class BA from Karnatak University in Dharwar and was a Rhodes Scholar in Oxford, from where he obtained a MA in Philosophy, Politics and Economics. His career as a playwright was launched just before leaving for England. Influenced by existentialist drama, his first play Yayati (1961) explores the complexities of responsibility and expectations within the Indian family. Drawing on a myth from the Mahabharata, Karnad expressed in it a personal dilemma between his family's demands and his own wish for freedom.

Although he was surprised not only about the surfacing of epic material in his work, but also that he should write a play (he had wanted to be a poet) and that, too, in Kannada, he continued to do so and became a prolific playwright. His first play, however, set the tone for his further work. The words of the character Yavakri in his 1994 play, Agni Mattu Male (The Fire and the Rain), might be applicable to Karnad as well: 'The past isn't gone. It's here inside me.' In his plays Karnad has striven to relate the past, be it myths from the epics, folk-tales or historical events, to the present. His second play Tughlaq (1964) on the historical Muhammad ibn Tughlaq was written during his studies at Oxford, and captures the disillusionment of many Indians with the idealistic politics of early independent India.

This play established him as one of the foremost playwrights of India. Not only does Karnad strive to make the past relevant, he also tries to incorporate traditional dramatic techniques. As a child, Karnad was exposed to traditional theatre such as yaksagana, as well as plays by natak companies. His parents were enthusiastic about plays they had seen in the 1920s and related them to the young Girish. However, Karnad was stunned when he experienced for the first time the performance of a Western play in Bombay: the openness in which the actors talked about emotions on stage seemed foreign, and he was impressed by the technical possibilities of stage lighting. In his one-act radio drama, Ma Nisada (1964), Karnad emphasises the importance of the ordinary man for the hero Rama within the Ramayana.

In his third major play, Hayavadana (1971), Karnad draws on a tale from the Kathasaritsagara, and its adaptation in Thomas Mann's The Transposed Heads. Here Karnad problematises issues of personal identity, adding a sub-plot to the main story. In Naga-Mandala (1988), Karnad turns away from the 'classical' traditions as his source to local Kannada folk-tales, which he had heard from India's renowned scholar of oral traditions, A. Here he combines two tales, the central one focusing on the snake-lover motif, while the frame story explores the notion of stories having a life independent of their narrators, derived from oral traditions. Taledanda (1990) retells an episode of the life of the twelfth-century Lingayat saint and founder of the movement, Basava. This play was prompted by the political situation at the time of writing: in Ayodhya the agitations regarding the alleged birthplace of Rama on the site of the Babri Mosque had started, which were to lead to the mosque's destruction in 1992.

This and the protests against the Mandal Commission's policy of caste-reservation exemplified the religious fanaticism of the time. Karnad, by exploring aspects of the Lingayat tradition from more than eight centuries earlier, criticises contemporary religious fundamentalism and the violence committed in the name of religion. Another major play is Agni Mattu Male (The Fire and the Rain 1995) in which Karnad deals with the traditional controversy between asceticism and ritual, using as his source an episode from the Mahabharata. It is a complex play with different story-lines, as well as a play within a play, and it has been seen by some critics as Karnad's best work. This play also picks up on a theme central to Indian epics, the relationship between brothers/cousins. Karnad carried the ideas for this play in his mind for years, and was inspired to write it after reading an academic piece on the relation of drama to ritual within Indian traditions.

In Karnad's most recent radio-play, The Dreams of Tipu Sultan (1997), he draws on Tipu Sultan's dream-book, fascinated by the idea that an important warlord should write down his own dreams privately. The document on which the play is based has so far only partially been translated from the Persian original. Here, Karnad switches from English to Kannada, addressing multilingual reality in India. For Karnad, who was English educated and living in England at the time, it was a surprise when his first play evolved in Kannada (his mother-tongue was actually Konkani).

Since then, even when commissioned to write a play for the Guthrie Theatre in Minneapolis, his creative language has always been Kannada, followed by re-workings of the originals into English. Many of his plays have also been translated into other Indian languages, and have been performed in them as well as in English. Karnad has received numerous prizes and awards for his plays.

To name only a few: the Homi Bhabha Fellowship for creative work in folk theatre (1970-2), the Padma Shri award (1974), the Karnataka Nataka Akademi Award (1984), and the Padma Bhushan award (1992). Apart from being one of the most important Indian playwrights today, Girish Karnad is also a film-maker whose films have received much acclaim. But it has been his work in television, as actor and host of a science programme, which has made him a household name in India. But Girish Karnad's career does not stop even here. His further positions include: Director of the Film and Television Institute of India in Pune (1974-5), President of the Karnataka Nataka Akademi (1976-8), Visiting Fulbright Scholar-in-Residence at the University of Chicago (1987-8), Chairman of the Sangeet Natak Akademi in New Delhi (1988-93), Fellow of the Sangeet Natak Akademi (1994) and now, Director of the Nehru Centre, High Commission of India, in London.

Malvika Pathak , is a research student at the Department of the Study of Religions at SOAS, under the supervision of Dr. Malvika is researching the relationship between contemporary Indian fiction and the Indian epics. Share this page. SOAS University of London 10 Thornhaugh Street, Russell Square, London WC1H 0XG. © SOAS University of London (School of Oriental and African Studies) 2019.

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