History dating back to 1048 AD
When it comes to theatre, Karnataka has always stood among top the three states — along with Delhi and Maharashtra — in the country.
The first recorded history of existence of theatre is available in an inscription found at a Mugda village in Dharwad dating back to 1048 AD. It reads: Martadayann built a theatre by demolishing a basadi”.
The first-ever formal theatre training workshops were being conducted here by Sriranga in Dharawad much before the National School of Drama came into existence.
Karnataka today boasts of having the highest number of graduates from the National School of Drama (more than 50).
Reference to the existence of theatre is found in Kaviraja Maarga — Kannada’s first work on poetics — by Nripatunga. In Pampa’s Aadipurana, there is a narration of Nilanjaneya Nrithya, which explains how Nilanjane made her entry on stage, performed dance and drama.
“Though there is no independent literature or writing style like drama or a play, theatre was very much a part and parcel of the land for over 1,000 years,” said playwright and poet K Y Narayanaswamy.
“Without any knowledge of theatre — seeing or experiencing — one can not make a reference in their works.” He said no other regional language in India make many detailed references to theatre like those found in Kannada literature. “Similar references are found only in Sanskrit,” he said.
The first acknowledged work of drama in Kannada is Mitravrinda Govinda by Singararya, a court poet in Mysore in the 18th century. This was a translation of the famous Sanskrit play Ratnavali.
“Karnataka did have a rich theatrical tradition, both folk and classical in mode and expression, but this theatre did not follow a script,” says critic and playwright K D Kurtkoti in the book The Tradition of Kannada Theatre, which is edited by him.
Prior to theatre, there existed a strong performance tradition in folk culture which is considered as the source of birth of classical dance, music and drama. Various forms like togalu bombeyata, yakshaghana, bayalaata, tala maddale, mudalapaaya, doddaata, sannaata all fall under this category.
Karnataka had its first professional company — Sri Veera Narayana Prasadita Nataka Company — in Dharwad. It was started by Shanta Kavi aka Sakri Balacharya. His company performed plays whose themes and story line were derived from epics.
In south, it was the royal patronage of the Mysore Kings, which helped evolve theatre. The Kings invited Parsi theatre troupes to perform, besides having their own Aarmane Company, to entertain the royal courtesans.
The end of 18th century and the beginning of the 19th century was a transition period for Kannada theatre. The influence of modern technologies like printing, modern British administration, changing socio-political equations also changed theatre.
In 1884, the famous Gubbi Company was founded.
The company performed plays with themes of patriatism, social issues, besides deriving strength from the Hindu classics.
The legendry Veeranna took over the famous company after 20 years and later became folklore in Karnataka’s theatre history.
Though influence of company theatre is limited in the recent past, Chindodi Leela (who died recently) and Master Hirannaiah kept the tradition alive.
Hirannaiah carved a niche for himself by creating satire plays reflecting the social political and economic changes in the society.
Emergence of modern writers like BM Srikantaiah who was strongly influenced by Greek tragedies gave a new interpretation to epic characters Duryodhana, Ashwathama and others through his plays Gadhayudham, Ashwatamman and others.
Another great playwright Samsa used the history as a part of his plays like in Vigada Vikramaraya by giving a dramatic twist to historical facts.
T P Kailasm is considered as the first realistic playwright in Kannada.
Navodaya writers like B M Sri, Da Ra Bendre, Kuvempu, Shivaram Karnath, Masti Venkatesh Iyengar, Pu Ti Narasimhachar and GB Joshi aka Jadabharata established the roots for modern theatre in Karnataka.
It was Sriranga aka Adya Ranacharya who gave a clear definition for structure of modern plays through his “instructions” embeded in brackets along with the script.
In 1909, the famous Association of Drama Artistes (ADA) was formed and ADA Rangamandira on JC Road in Bangalore came into existence.
ADA started new age plays which were not only aimed at entertaining the audience but aimed to make them think and introspect by raising issues.
The first accepted modern play in Kannada is Higgappa Heggadeyavra Vivaha Prahasana by Karkere Suri Venkataramana Shastry.
The 1950s and 60s witnessed a series of adaptations of English and European plays while the beginning of NSD gave way for a new generation of directors.
B V Karnath, who comes from a Company Theatre, was later dragged into direct modern plays by R Nagesh.
Karanth created a collage by using the modern themes and mixing them with traditional theatrical designs and symbols.
The emergence of modern playwrights and directors like Girish Karnad, Chandrashekha, Kambar, Prasanna, K V Subbanna, C G Krishnaswamy, Basavalingaiah, Lankesh and others led to a vibrant experimentation phase. The themes of plays were strongly influenced by metaphors drawn from folk, mythology and history.
Theatre contributed several actors, directors and music directors who are famous in the Kannada cinema today, including the legendry Dr Rajkumar.
State-run theatre repertoire came up in the 1980s.
Several amateur theatre troupes with rich contributions from B Jayashree, C R Simha, Arundati Nag, A S Murthy and even religious institutions like in Taralabalu Mutt of Sirigere in Sane Halli and Muruga Mutt in Chitradurga have been actively promoting theatre in a big way.
A creative, vibrant body of work
Kannada cinema has for long been in the forefront of Indian cinema.
It would not be an exaggeration to say that Kannada cinema is the one and only regional cinema in the country that has had the privilege of receiving national awards regularly since 1953.
Ghatashradha, Tabarana Kathe, Thayi Saheba, Haseena, Dweepa, Kanasema Kudureya Neri and Gulabi Talkies are some films that have received national awards.
“Our contribution is immense to national cinema,” said B N Subramanya, a film critic.
And though the market of Kannada cinema is limited to Karnataka, its contribution has extended beyond language barriers.
The state has given many artistes and directors to other language films, including Bollywood.
Directors such as Guru Dutt and V Shantaram have made their name in Hindi cinema.
“Kannada cinema has contributed many artistes to other language films,” said Subramanya. “B Saroja Devi has acted more in other language films than in Kannada.” She has received the Padma Bhushan and has acted in many Tamil and Telegu films apart from some Kannada movies.
Bharati Vishunvardhan too has worked in Tamil, Telegu and Kannada films, while superstar Rajnikant, who is from Karnataka, has made his name in Tamil and Hindi films. His latest release Endhiran has broken some industry records.
Among others are Nagesh, who is most remembered for his comic roles in Tamil cinema, and Bollywood actors Aishwarya Rai Bachchan, Shilpa Shetty and Deepika Padukone.
There are others like Charan Raj, Arjun Sarja, Srikanth, late Murali, Prakash Raj, Ramya and Radhika who have concentrated in Telugu, Tamil and Malayalam films.
Apart from actors, Kannada cinema has also contributed many choreographers, cinematographers and editors to the Indian film scene.
Late M V Krishnaswamy and V K Murthy are just two such names who have been acclaimed internationally for their work. Choreographer Chinni Prakash is also from Karnataka.
The film Ghatashradha was re-made in Hindi as Dheeksha by Aran Kaul in 1991.
After watching the film in Chennai, the famous Bengali film director Satyajit Ray had refused to believe that Girish Kasaravalli was only 27 when he handled the megaphone for the film in 1978.
Kasaravalli has won the maximum number of national awards among Kannada directors. He recalled that a Bengali critic had once said that had it not been for Ghatashradha, Ray would not have directed Sadgathi, a Bengali film.
B V Karanth not only contributed to theatre but also to cinema. He directed the film Chomana Dudi, which was based on Shivaram Karanth’s novel. The film also won the Swarna Kamal award. M V Vasudeva Rao had won the best actor’s award for his performance in the film.
Vasudeva Rao also acted in Telugu film Oka Oori Katha and Tamil film Nayakan.
Kannada cinema has had a number of films based on novels. Director S V Rajendra Singh Babu set a trend for political films with Antha, which starred Ambareesh as the hero. It was later re-made in other languages.
Devotional and patriotic movies in Kannada also left their mark as they appealed to all sections of society and had audience across the country.
Late G V Iyer’s Bhagwad Gita and Swami Vivekananda are two such examples.
Iyer also directed three films in Sanskrit — Sri Shankaracharya, Sri Madhvacharya and Sri Ramanujacharya.
The famous duo Rajan-Nagendra gave their modern but melodious touch to music in Kannada cinema.
Their composition includes Eradu Kanasu, Gandhada Gudi, Na Ninna Mareyalare, Hombisilu, Bayalu Dari and Chandanada Gombe.
Some of these films were made in Telugu as well and they composed music for Telugu versions of these films.
Among the leading Kannada actors, Dada Saheb Palke award winner Dr Rajkumar was the most popular personality in Sandalwood. Dr Raj — as affectionately known in the industry — was called the living legend of Indian cinema.
He received the national award for singing a song, Naadamaya, for the film Jeevana Chaitra.
Dr Vishnuvardhan is another stalwart of Indian regional cinema, who acted in a number of Telugu and Tamil films.
Srinath, who is called Pranaya Raja, has acted in Maanasa Sarovara, a film directed by late Puttanna Kanagal. It was later re-made in Telugu.
Ananth Nag’s negative role in Telugu film Prema Lekhalu is still fresh in the minds of Telugu cine buffs.
Shankar Nag, who was killed in a road accident, contributed a lot to cinema. His tele-serial, Malgudi Days, became popular across the country.
Director Girish Karnad’s Vamsa Vruksha was remade in Telugu. Pattabhirama Reddy directed the film, Samskara, and won the Swarn Kamal award.
Director and producer S V Rajendra Singh Babu said Kannada cinema has received the maximum number of national awards after Bengali, Hindi and Malayalam cinema. His film Antha was re-made in Hindi and other languages.
“Bhoothayyanamaga Ayyu not only won the national award but was also re-made in other languages,” he said, adding that many directors, producers and technicians from the state have graduated to the national level. He said producers such as Ramanath, Veeraswamy, Chandulal Jain made Hindi films.
“We can claim that Manirathnam is Karnataka’s contribution since his maiden film Pallavi Anupallavi is in Kannada,” he said.
Girish Kasaravalli said Kannada films like Ghatashradha, Samskara and Chomana Dudi were instrumental in carrying Ram Manohar Lohia’s philosophy forward. “These films also waged a war against caste system in the country,” he said.