TRAUMA AND THEATRE: METAPHORICAL REPRESENTATION OF POSTCOLONIAL RIVALRY THROUGH GIRISH KARNAD'S HAYAVADANA AND MANJULA PADMANABHAN'S HARVEST
Bhaswati Mondal
Postgraduate in English
University of Calcutta
West Bengal, India
Abstract:
Theatre
is the reminiscence of history and following this historical path, postcolonial
theatre globally stage people who scream to raise their voice from heart and
their protest from mind for proclaiming the purgation through freedom. The
objective of this paper is exploration of postcolonial mindset, struggling
within traumatic identity for fragmented body and mind, analysing deeply two
Indian contexts, Girish Karnad's Hayavadana and Manjula Padmanabhan's Harvest.
Karnad metaphorically and critically addresses the idea of fragmented identity
of postcolonial subjects through the mythical representation. Padmanabhan
represents a dystopian vision of the postcolonial world, criticizing the
socioeconomic inequalities in postcolonial societies, exploring the
dehumanizing effects of Western imperialism. Throughout the entire analysis,
key findings are the different glimpses of how unexposed postcolonial trauma
excellently finds the way of theatre to enlighten postcolonial mind. This paper
tries to speak about the understanding of postcolonial theatre as a site of
resistance and resilience of trauma in Indian postcolonial identity on the
aspect of globalization.
Keywords: Postcolonial
trauma, Indian theatre, Identity, Myth, Mind and body
Introduction
The
significant role of myth and metaphor on Indian postcolonial theatre creates a
potential site for presenting protest, resistance and resilience through unique
stage technique and strong performance. This study highlights the expression of
postcolonial trauma through performing art of theatre makes Indian plays of
protest globally popular for holding a cross-cultural relevance and gendered
representation of identity which enlightens the darkness inside the heart of
global audience. The relevance of this study lies upon the
mental and physical rivalry in postcolonial era to proclaim the purgation through a sense of freedom. Presenting
postcolonial mindset, struggling within traumatic identity for fragmented body
and mind is the objective of this paper which follows the research question:
How far do Indian plays depict the postcolonial trauma and resilience for
reviving individuals' lost identity? Specially focusing on metaphorical and
theatrical representation of postcolonial rivalry, an in-depth analysis is held
upon two Indian contexts, Girish Karnad's Hayavadana
and Manjula Padmanabhan's Harvest to
show how trauma can be released through catharsis. Both the performer and the
audience go through the cathartic effect of the play to reach at the moment of
purgation and practically suppressed trauma inside each one’s mind can be
dissolved in this theatrical process of healing.
Scholars such as Homi K.
Bhabha and Cathy Caruth extensively discuss the role of hybridity and trauma in
postcolonial identity formation and memory. Similarly, there are scholarly
analysis on the Karnad’s Hayavadana for its exploration of fragmented
identity through myth and metaphor and Padmanabhan’s Harvest to examine
trauma from the aspect of postcolonial dystopia.
While previous studies
address individual plays by Karnad and Padmanabhan, they rarely compare these
works to explore shared themes of body-mind conflict, identity, and trauma
through the mirroring act of metaphors and theatrical elements. Furthermore,
the gendered struggle under postcolonial trauma in Indian postcolonial theatre
remains underexplored. This study bridges this gap by providing a deeper
analysis that connects these underexamined aspects.
Using a postcolonial
theoretical framework, this study examines themes of trauma, rivalry and
resilience. It limits its focus to analyse the stage technique and the use of
myth and metaphor in the context of postcolonial Indian theatre and does not
include other works by these authors.
The Role of Indian Postcolonial Theatre:
Embracing
decolonial elements, history of colonial past is reminisced through
postcolonial theatre to empower people’s mindset which is still struggling
under neocolonial state of the world and inner conflict for lack of true
identity and awareness. Bridging the tradition and modernity, Indian plays
mostly try to present the colonial mindset of individuals which conquers them
invisibly, dragging towards the darkness. So, for exposing postcolonial
realities from every aspect, theatrical significance is needful in Indian
society, also attracting global audience towards Indian narratives. This
study’s observation upon Karnad’s Hayavadana
shows his metaphorical representation of
postcolonial trauma through gendered struggle of existence and upon
Padmanavan’s Harvest shows the present reality of global society
through her dystopian world on the aspect of neocolonialism where human being
is the victim of commodification, exploitation and global forces.
The Mythical Foundation of Hayavadana:
Girish
Karnad's Hayavadana is inspired by a story from the Kathasaritsagara, an ancient Sanskrit collection of stories
attributed to Somadeva, and its adaptation in Thomas Mann's novella The Transposed Heads (1940).The story in the Kathasaritsagara revolves
around a love triangle where a woman faces a dilemma after her husband's and
lover's heads are mistakenly swapped. The question arises about which
combination of head and body constitutes the "true" husband. But
Karnad adapts this myth into Hayavadana, introducing a man with a
horse’s head who seeks to become complete, being a fully human. Also, he
introduces the friendship and conflict between Devadatta and Kapila differently
with more tension, including the spirited feminine desire and dream through
Padmini.
Myth, Metaphor, Trauma in Hayavadana as the Theatrical
Mirror of Postcolonial Era:
Karnad’s
excellency of adapting myth in his play proves the relevance of ancient
narratives to express contemporary issues of postcolonial era well. Through the
head-body swapping scene between Devadatta, a learned and intellectual Brahmin
and Kapila, a physically strong man, Devadatta’s best friend represents the
conflict between intellect (head) and physicality (body). On the aspect of
postcolonialism, Karnad presents here the postcolonial struggles of individual
with fragmented self, identity and existence which is narrated here, “Where is
the fault, Devadatta? In our heads or in our bodies?” (Karnad 74). The Goddess Kali’s
indifference and playful attitude during the head-swapping incident symbolize
the randomness of fate and the unpredictable nature of identity formation which
is an aftermath of colonial aggression over Indian society because the darkness
of cultural hybridity forcefully rules over the people which results mental and
psychical exploitation, manipulation and makes them suffer unfulfillment. Hayavadana’s
incomplete identity—a man with a horse’s head—symbolizes the impossibility of
achieving perfection or wholeness. His eventual transformation into a full
horse, rather than a human, highlights the acceptance of one’s fragmented self
in a postcolonial context. Padmini’s longing for a perfect combination of
Devadatta’s intellect and Kapila’s strength reflects unrealistic societal
expectations and the human desire for completeness which is the result of
self-repression and outburst of needs from the heart. Each metaphor reflects
another level of postcolonial trauma which is exposed through the performance.
Karnad’s usage of traditional folk theatre, particularly Yakshagana,
integrating music, dance, dramatic narration and the Bhagavata’s presence as a
commentator and guide, breaking the fourth wall to address the audience
directly creates the uniqueness in stage technique, fostering critical engagement.
Also, the use of masks symbolizes the characters’ duality and fragmented
identities and puppets symbolize the control of fate over human lives,
resonating with the postcolonial struggle which Karnad represents through the
performance with strong social criticism.
The Narrative Foundation of Harvest:
In
Harvest, Manjula Padmanabhan portrays a dystopian world where poverty
drives individuals to commodify their bodies for the benefit of wealthy global
elites. The story of Om Prakash, who gives consent in selling his body rights
to a multinational organ transplant company for the survival of his family,
struggling under urban poverty reflects the dehumanizing effects of
globalization and neocolonial exploitation. Speaking about the impact of
manipulation and desperation over individual and massacre, the play critiques
socioeconomic inequalities, invasive surveillance, and the loss of autonomy,
while highlighting resilience and resistance through the characters’ struggles
against systemic oppression.
Postcolonial Dystopia and Trauma in Harvest:
In
Manjula Padmanabhan’s Harvest, the metaphor of the body as a commodity
becomes a central theme, illustrating the dehumanizing effects of exploitation
in a postcolonial context. The play portrays a dystopian future where the human
body is reduced to an object for global consumption, reflecting the broader
socio-economic inequalities of the postcolonial world. Om Prakash, the
protagonist, becomes the literal and figurative site of exploitation, as his
organs are sold to a wealthy client. This commodification symbolizes the trauma
inflicted on postcolonial subjects, whose identities and bodies are fractured
and objectified by the forces of globalization and Western imperialism. The
body as commodity, organ harvesting, the home as a prison, through this
metaphor, Harvest not only critiques the physical violation of the body
but also explores the psychological trauma of living in a world where survival
is contingent upon the sacrifice and constant adjustment which is reflected
clearly through the line "You know how it is, a family has to
survive." (Padmanabhan 28) The play employs minimalist set designs to
symbolize dehumanizing and sterile world of technological domination so the
living space of Om Prakash’s family becomes a visual metaphor of suffocating
impact of poverty, exploitation and survival. Also, usage of omnipresent voice
of authoritative figures from Inter Planta Company and unseen ‘buyers’
highlights the domination and power dynamics between colonizers and colonised
appropriately. Criticizing the global societal condition Padmanabhan portrays
the neocolonial elements also which presents global contemporary conflicts well
where people from any postcolonial culture is struggling under dystopian world
which is excellently visible in narratives but apparently stays invisible and
sadly, we always starve for the utopia, dwelling under the dystopia.
Exploring Rivalry and Resilience in Postcolonial
Indian Theatre:
The
significance of this study lies in its exploration of postcolonial trauma
through the lens of Indian theatre, particularly focusing on Karnad and
Padmanabhan’s work. By analysing how these plays depict fragmented identities,
cultural hybridity, and the psychological effects of colonialism and globalization,
this research offers a critical examination of the ways in which postcolonial
subjects struggle to reclaim their sense of self. Also answering the research
question, drawing a comparative angle, this study highlights the similar aspect
between their works which is rivalry, centring the body and mind that
symbolizes the conflicted condition of homeland and people. The study
contributes to postcolonial theatre by highlighting how performance and stage
techniques can serve as sites of resistance and resilience, allowing
marginalized voices to express their trauma and protest. Furthermore, this
research underscores the importance of theatre as a powerful medium for
engaging with the socio-political dynamics of postcolonial societies, offering
new insights into the intersection of identity, trauma, and the body in
contemporary Indian theatre.
Despite its contributions, this study has certain
limitations. The analysis is restricted to a comparative textual examination of
The Fire and the Rain and Harvest, focusing on stage techniques
and symbolism in those plays, without delving into audience reception of trauma
or critical interpretations of their performances in resilience and true
purgation, which could offer additional perspectives on the plays’ societal impact.
Furthermore, while the research draws parallels between Karnad and
Padmanabhan’s works, a broader comparative analysis with other postcolonial
playwrights could enhance the understanding of recurring themes in Indian
theatre. The study also does not explore the intersection of these themes with
digital and globalized media influences, which are increasingly relevant in
contemporary theatre. These limitations open avenues for future research to
expand upon the dynamic interplay between postcolonial identity, trauma, and
theatrical expression.
Conclusion:
The
postcolonial survival, which is still ongoing as people are not yet free from
postcolonial mindset, is continuously chase them for constant fighting. The
shadow of colonial past over their mind haunts them and the new generations
which results manipulation towards following the pathway of colonizers. The
core essence of the key findings of this paper is that people are drowning into
enough traumas just for their hidden tendency of slavery inside subconscious,
towards the global forces. So, if purgation needs to flow over the head and the
body like eternal peace through the sense of freedom, then everyone needs also
to find a path for true rivalry and resilience, exploring self-awareness about
tradition, history, root of identity and Indigenous culture which only can
bring back all in homeland.
Theatre,
as explored in this study, serves as a transformative medium that not only
reflects these struggles but also provides pathways for healing and resistance.
By addressing themes of fragmented identities, cultural hybridity, and the
psychological aftermath of colonialism, this research emphasizes the need for
introspection and unity. The rediscovery of roots and the celebration of
Indigenous culture will not only restore a sense of belonging but also pave the
way for a more liberated and harmonious future, where postcolonial trauma can
finally give way to self-determined empowerment.
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Padmanabhan, Manjula. Harvest. Oxford
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