"Naga-Mandala" – Drama (Girish Karnad) and Film (T.S Nagabharana). A Comparative Study

Table of Contents

Chapter 1: Introduction and Literature Review

1.1 Introduction

a. About the drama Naga-Mandala

b. About the film Naga-Mandala

c. About Girish Karnad

d. About T.S Nagabharana

e. Drama and the film

1.2 Literature Review

a. Critical Literature on Narrative in Film and Literature

b. Critical Literature on Girish Karnad and Naga-Mandala

1.3 Problem Statement

Chapter 2: Methodology

2.1 Rationale

2.2 Objectives

2.3 Methodology

2.4 Operational Methodology

Chapter 3: Analysis and Interpretation

3.1 Storyline of Girish Karnad’s Naga-Mandala / Storyline of T.S Nagabharan’s Naga-Mandala

3.2 Plot of the drama / Plot of the film

3.3 Characterization

3.4 Narrative Transition

3.5 Narrative Focuses

3.6 Point of View/ Voice

3.7 Symbolism

3.8 Allegory

3.9 Theme

3.10 Time

3.11 Place

3.12 Tone

Chapter 4: Summary and Conclusion

4.1 Summary

4.2 Comparison

4.3 Conclusion

Research Objectives and Key Themes

This thesis conducts a comparative narrative analysis between Girish Karnad’s play "Naga-Mandala" and the film adaptation directed by T.S. Nagabharana. The primary research objective is to examine how narrative elements are adapted from the literary text to the film medium and to evaluate the differences in narrative stance and storytelling techniques between the two versions.

• Analysis of narrative structure in drama versus film.
• Exploration of mythical and folk elements in Indian literature.
• Comparison of character development and portrayal in both media.
• Investigation of symbolisms and allegories as narrative tools.

Excerpt from the Book

Summary of Chapters

Chapter 1: Introduction and Literature Review: Provides an overview of the adaptation of Indian literature into film and summarizes critical literature related to narratology, Girish Karnad’s plays, and specifically "Naga-Mandala".

Chapter 2: Methodology: Outlines the qualitative research approach used to study the narrative elements and sets the rationale and objectives for the comparative study.

Chapter 3: Analysis and Interpretation: Examines specific narrative components such as storyline, characterization, symbolism, and themes to compare the textual play with the film adaptation.

Chapter 4: Summary and Conclusion: Summarizes the findings of the study and concludes that while both media effectively convey the story, the film uses different visual and cinematic techniques to interpret the original narrative.

Keywords

Naga-Mandala, Girish Karnad, T.S. Nagabharana, Narrative Analysis, Adaptation, Folklore, Mythology, Indian Theatre, Film Narratology, Symbolism, Allegory, Characterization, Feminism, Oral Tradition, Comparative Study.

Frequently Asked Questions

What is the fundamental focus of this research?

The research is a comparative study exploring how the narrative structure and elements of Girish Karnad's play "Naga-Mandala" are translated and adapted into the film version directed by T.S. Nagabharana.

What are the central themes discussed in the work?

Central themes include the role of folk tradition and myth, gender dynamics in patriarchal society, the concept of chastity, and the power of storytelling as an act of resistance.

What is the primary objective of the thesis?

The primary objective is to systematically analyze and compare the narrative stance, plot devices, and symbolic representations between the original written play and the cinematic interpretation.

Which methodology is employed in this research?

The research utilizes a qualitative methodology, focusing on narrative analysis to interpret the symbolic, structural, and thematic elements present in both the text and the film.

What content does the main analysis section cover?

The main analysis covers the storyline differences, character development, narrative transitions, symbolism, allegories, and the use of time and place in both the drama and the film.

How would you characterize the primary keywords of this study?

The keywords highlight the intersection of literature and film, the specific cultural context of the work (Naga-Mandala, Karnataka), and the analytical frameworks used (narratology, mythology, symbolism).

How does the film version differ from the play in its ending?

The play offers a more complex, triple-ending structure, whereas the film opts for a singular, clear resolution where the Cobra is killed by Appanna, leading to a conventional happy ending.

What role do the "Flames" play in the narrative?

In the drama, the Flames serve as allegorical narrators, representing the oral tradition of storytelling and providing a framing device that links the narrative layers together.