"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
  • 1.2 Literature Review
  • 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

Objectives and Key Themes

This thesis aims to conduct a comparative study of Girish Karnad's play Naga-Mandala and T.S. Nagabharana's film adaptation, analyzing the transition from dramatic to filmic medium. The study explores how narrative techniques, characterizations, and thematic elements are translated and adapted between the two forms.

• Adaptation of literary works to film
• Comparative analysis of dramatic and cinematic narrative techniques
• Thematic exploration of Naga-Mandala in both its dramatic and cinematic forms
• Examination of character development and its portrayal across different mediums
• Analysis of the impact of medium on storytelling and audience reception

Chapter Summaries

Chapter 1: Introduction and Literature Review: This chapter provides an introduction to the subject matter, focusing on the relationship between Indian literature and film adaptations. It explores examples of adaptations from Indian classics, including works by R.K. Narayan and Satyajit Ray, as well as Western examples. The chapter introduces Girish Karnad's play Naga-Mandala and T.S. Nagabharana's film adaptation, highlighting the significance of the title and its cultural context. It also delves into existing critical literature on narrative in film and literature, particularly focusing on analyses of Karnad's work and the play itself. The chapter concludes with a statement of the research problem.

Chapter 2: Methodology: This chapter outlines the research methodology employed in the study. It details the rationale behind the chosen approach, specifies the research objectives, describes the overall methodology, and explains the specific operational steps taken in the analysis of both the play and the film. It lays the foundation for the comparative analysis presented in subsequent chapters.

Chapter 3: Analysis and Interpretation: This chapter forms the core of the thesis, presenting a detailed comparative analysis of Karnad's play and Nagabharana's film. It compares the storyline, plot, characterizations, narrative transitions, narrative focuses, point of view, symbolism, allegory, themes, time, place, and tone across the two mediums. This systematic comparison allows the researcher to identify both the similarities and differences in how the narrative is presented and interpreted through drama and film, revealing the impact of the medium on the overall narrative.

Keywords

Naga-Mandala, Girish Karnad, T.S. Nagabharana, film adaptation, dramatic narrative, cinematic narrative, comparative analysis, Indian literature, storytelling, adaptation studies, thematic analysis, characterization.

Frequently Asked Questions: Naga-Mandala - A Comparative Study of Dramatic and Cinematic Narrative

What is the main focus of this academic work?

This thesis conducts a comparative study of Girish Karnad's play Naga-Mandala and T.S. Nagabharana's film adaptation. It analyzes the transition from the dramatic to the filmic medium, exploring how narrative techniques, characterizations, and thematic elements are translated and adapted between the two forms.

What are the key themes explored in the thesis?

The key themes include adaptation of literary works to film, comparative analysis of dramatic and cinematic narrative techniques, thematic exploration of Naga-Mandala in both its dramatic and cinematic forms, examination of character development across different mediums, and analysis of the impact of medium on storytelling and audience reception.

What is the structure of the thesis?

The thesis is structured into four chapters. Chapter 1 provides an introduction and literature review. Chapter 2 outlines the research methodology. Chapter 3 presents a detailed comparative analysis of the play and the film, focusing on storyline, plot, characterization, narrative techniques, symbolism, allegory, themes, and other narrative elements. Chapter 4 summarizes the findings and presents the conclusion.

What specific aspects of Naga-Mandala are compared in the analysis?

The comparative analysis in Chapter 3 covers a wide range of narrative aspects, including storyline, plot, characterization, narrative transitions, narrative focuses, point of view, symbolism, allegory, theme, time, place, and tone. This allows for a comprehensive understanding of how the narrative is shaped by the different mediums.

What methodology is used in this research?

The thesis details the rationale behind the chosen research approach and describes the specific operational steps taken in the analysis of both the play and the film. The methodology section lays the foundation for the comparative analysis presented in subsequent chapters.

What is the significance of the title, Naga-Mandala, and its cultural context?

The introduction discusses the significance of the title Naga-Mandala and its cultural context within the broader framework of Indian literature and film adaptations.

What are some examples of similar adaptations discussed in the thesis?

The literature review explores examples of adaptations from Indian classics, including works by R.K. Narayan and Satyajit Ray, as well as Western examples, to provide a broader context for the analysis of Naga-Mandala.

What are the key words associated with this research?

Key words include: Naga-Mandala, Girish Karnad, T.S. Nagabharana, film adaptation, dramatic narrative, cinematic narrative, comparative analysis, Indian literature, storytelling, adaptation studies, thematic analysis, characterization.