Description :In this paper, propose to describe the conditions of drama and theatre in Kamataka. It may be confessed at the outset that this subject has not been studied seriously either as an art or from a historical point of view. There is no material as such to guide us.The information conveyed in this paper is gleaned from stray references in old Kannada literature, from personal talks and discussions with men in the field, from a few sketchy articles in periodicals and from personal experience. As in the case of almost all Indian languages, in Kannada too there are two different worlds, so to say; that of the educated and the other of the rural uneducated population. The study of any subject has to recognize these two worlds. So Kannada drama and theatre of the educated classes well as of the rural tradition have to be separately noticed. Secondly, the rural tradition by itself means a variety of traditional forms. Difficulties after rain and transport in the early days and lack of enterprise in the modern days has kept our rural population mostly confined to one area with the result that different areas retain different forms of art and recreation.At the same time, as will be seen subsequently, an underlying thread of unity runs through this variety.
Source :Sangeet Natak Akademi
Type :Article
Received From :Sangeet Natak Akademi
DC Field
Value
dc.contributor.author
Rangacharya, Adya
dc.coverage.spatial
Karnataka
dc.date.accessioned
2017-07-11T22:51:27Z
dc.date.available
2017-07-11T22:51:27Z
dc.date.issued
2004
dc.description.abstract
In this paper, propose to describe the conditions of drama and theatre in Kamataka. It may be confessed at the outset that this subject has not been studied seriously either as an art or from a historical point of view. There is no material as such to guide us.The information conveyed in this paper is gleaned from stray references in old Kannada literature, from personal talks and discussions with men in the field, from a few sketchy articles in periodicals and from personal experience. As in the case of almost all Indian languages, in Kannada too there are two different worlds, so to say; that of the educated and the other of the rural uneducated population. The study of any subject has to recognize these two worlds. So Kannada drama and theatre of the educated classes well as of the rural tradition have to be separately noticed. Secondly, the rural tradition by itself means a variety of traditional forms. Difficulties after rain and transport in the early days and lack of enterprise in the modern days has kept our rural population mostly confined to one area with the result that different areas retain different forms of art and recreation.At the same time, as will be seen subsequently, an underlying thread of unity runs through this variety.
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