The oeuvre of Girish Karnad’s work as a dramatist can be classified into historicals (Tughlaq, Taledanda), Indian mythology (Nagmandalam, Hayavadana) and contemporary urban tales (Bendakaaru on Toast/Une Purey Shahar Ek in Marathi). With his last play Crossing to Talikota he returns to the historical genre concurrent to the times that we are living in.
An English language play, Crossing to Talikota that traces the decline and defeat of Vijaynagara kingdom, will open the Saarang Theatre Festival that starts in the city from Monday. According to the Sahitya Rangabhoomi Pratishthan, which has organised the five-day festival, with this, they are paying a tribute to the late playwright. A laud-worthy initiative for sure!
Arjun Sajnani, who has directed the play, says that Karnad’s last work pays a tribute to the Hindu-Muslim relation as it was, or the way it should be. Sajnani, who has also directed Karnad’s Fire and Rain (made into a film, Agnivarsha), says, “Girish approached me with the play in July 2018. But I only accepted the proposal in January next year. It was evident to me that the production would take up a lot of thinking and imagination. Girish had told me it would be on a mega scale. He was quite clear that the community intimate theatre wouldn’t do justice to Crossing to Talikota. He looked at it as a large canvas, as a large presentation.”
THE PLOT
The historical play deals with the fall of the Vijaynagara empire in 1565 when the alliance of Deccan Sultanates defeated it. This defeat has been in the popular and historical narrative as a civilisational clash between Hinduism and Islam. Karnad’s writing brings to light that religion played a little role in this battle and that it was the regent Aliya Ramaraya’s complicated relation with his own status that led to the devastation of one of the greatest empires of south India. Aliya means son-in-law, Ramaraya was Krishnadevraya’s son-in-law, and one caste lower than him. Therefore Aliya Ramaraya couldn’t be made the emperor. But he was regent, and as a son-in-law he had the stature of a ruler, without being a king. This is a chip that Ramaraya is carrying and this leads him to believe that the Sultans are not attacking the empire, but attacking him. He is not a very popular ruler amongst his subjects.
THE MAKING OF THE PLAY
When asked if he had met Karnad when he was working on the play, and what was his mindset, Sajnani replies, “I met him many times during the period when he was working on the play, but I didn’t know then that he was writing it. After he wrote it, everyone felt that it was too large and too expensive a production. But it was something very close to Girish’s heart and his mind. He was a wonderful liberal thinker and the Hindu-Muslim relationship always interested him. Considering how he felt about it, the direction in which the country was heading, this was his tribute to the relationship that existed, and the two cultures today.”
The restaurateur-chef says, “It’s sad that Girish would not be able to watch his production because I think this is one of his best works that I have put out in many years.”
Considering that the play has political overtones and challenges the existing narrative, was it necessary for Sajnani to work on projects that match with his views? How does he choose his projects?
“Well, I think as a freelance director, obviously you have to choose properties that suit you, emotionally, intellectually, and something that you can relate to. Even if I have directed musicals, I look for aspects. First, there has to be a message which you can put across. Secondly, your heart has to be in it. It was easy to work with Girish because I did three of his other plays and I always found it a challenge to deal with them on an intellectual and emotional basis,” explains the Bengaluru-based director.
“In my versions of his play, there has always been a combination of sharp intellectualism and emotional truth and a core that makes you feel that you can relate to the people so easily,” he further adds.
The job of the director is to translate in his own vocabulary what has been written for him. But to make it work, the director has to have an affinity with the material. Working with Karnad has been a matter of joy for Sajnani, because he gave the director complete freedom to do as he pleased.
“Girish had virtually no instructions for the director. I remember when I was doing Fire and Rain as a movie, he refused to do the screenplay and said, ‘This is your baby and project. You must do it.’ His writing is what he gives to you,” says Sajnani.
The project has been described as having a cinematic feel and that the director is also hopeful of making a film. What does it mean for a play to be cinematic?
“The challenge was to put it across as a play and yet have a cinematic feel to it. By cinematic treatment, I meant to take the people (audience) on a journey across Vijaynagara, Bijapur. These are places which you necessarily have to see visually in order to comprehend what’s going on,” he says.
But Sajnani hasn’t approached anyone, nor has anyone from the film industry approached him to make a film. Soon after the show in Pune, Sajnani’s team — Sight & Sound Performing Arts — would be putting up more performances in NCPA Mumbai (on March 13, 14 and 15).
“Many of Girish’s favourite actors like Naseeruddin Shah would be coming for the performance. Perhaps something will materialise then,” he adds.
ST READER SERVICE
Watch Crossing to Talikota in Saarang Theatre Festival on February 24, Yashwantrao Chavan Auditorium, Kothrud, 7.30 pm
