Though chronologically his third, Rishyashringa (1970) is Chandrasekhara Kambar’s first major play, while Mahmoud Gawan happens to be his...
Though chronologically his third, Rishyashringa (1970) is Chandrasekhara Kambar’s first major play, while Mahmoud Gawan happens to be his latest. I feel happy that these two important works of Kambar have been ably translated into English by Krishna Manavalli, and published as Two Plays.
Kambar published his manifesto-like long poem, Helathena Kela (Listen, I Will Tell You) in 1964. His major themes, concerns and motifs are introduced powerfully in this poem. Rooted in his folk tradition and creatively employing the native idiom and storytelling mode, Kambar creates a myth in Helatini Kela, the nuances of which are explored further in many of his future works.
This narrative poem is set in the fictional space of Shivapura. Most of Kambar’s works are set in this space. In Helathena Kela, the Gowda, the chieftain of Shivapura village, is killed by a Rakshasa. The Rakshasa (the foreign/Western demon) enters the village from outside in the guise of the Gowda and begins to rule both the latter’s household and the village.
Gowda’s wife is now the wife of this Rakshasa. Their relationship results in the birth of a son who is named Balagonda. Not only this poem, but also many other works of Kambar’s explore the theme of the colonial conquest in multiple forms and multiple angles.
Rishyashringa
Balagonda is the central character in Rishyashringa. The play is designed as a...
