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Trauma and Theatre: Metaphorical Representation of Postcolonial Rivalry through Girish Karnad's Hayavadana and Manjula Padmanabhan's Harvest - Bhaswati Mondal

 


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.

Works Cited

Bhabha, Homi K. The Location of Culture. Routledge, 1994.

Caruth, Cathy, editor. Trauma: Explorations in Memory. Johns Hopkins University Press, 1995.

Karnad, Girish. Hayavadana. Oxford University Press, 1971.

Matin, Abdul. “Hayavadana: A postcolonial study”. International Journal of Creative Research Thoughts, vol. 9, no. 4,2021,pp. 268–270. ijcrt.org/papers/IJCRT2104043.pdf.

Padmanabhan, Manjula. Harvest. Oxford University Press, 1998.

Parvin, Karishma. "Negotiating Postcolonial Aspects in Manjula Padmanabhan’sHarvest." International Journal of Research, vol. 9, no. 5, 2022, pp. 296–298.

Saraswat, Surbhi, and Amity Institute of English Studies and Research, Amity University. "Urban Dystopia: Postcolonial Readings of Manjula Padmanabhan’s Harvest." Proceedings of the International Conference on Arts, Culture, Literature, Languages, Gender Studies/Sexuality, Humanities and Philosophy for Sustainable Societal Development, 2010.

Singh, Dr. Krishna. "Postcolonial Subalternization in the Plays of Girish Karnad." The Criterion: An International Journal in English, vol. 2, no. 1, Apr. 2011, pp. 1-12.

www.thecriterion.com/V2/n1/Krishna.pdf.