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added Category:Sahitya Akademi Award-winning works using HotCat

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			[[Category:Sahitya Akademi Award-winning works]]

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About the play

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{{short description|1990 Kannada-language play by Girish Karnad}}
{{italic title}}
{{cleanup|date=March 2010}}
{{Use dmy dates|date=January 2020}}
{{Use Indian English|date=January 2020}}
'''''Taledanda''''' (Kannada: ತಲೆದಂಡ, [[Hindi]]: '''''रक्त कल्याण''''' , literally: ''Death by Beheading'') is a [[1990 in literature|1990]] [[Kannada]]-language play written by [[Girish Karnad]], an eminent person in [[Kannada]] literature, about the rise of the radical protest and reform movement, [[Lingaytism]], in 12th century [[Karnataka]]. He was awarded the Karnataka Sahitya Academy Award (1993) and the [[Sahitya Akademi Award]] in Kannada language for the play in 1994, and later awarded the [[Jnanpith Award]] for his literature work in 1998.<ref>{{cite web|url=http://sahitya-akademi.gov.in/sahitya-akademi/awards/akademi_awards.jsp|title=Sahitya Akademi Awards listings|publisher=[[Sahitya Akademi]], Official website}}</ref><ref>{{Cite web |url=http://www.frontline.in/static/html/fl1603/16031170.htm |title=The multi-faceted playwright |website=www.frontline.in |access-date=2017-11-29}}</ref>

== About the play ==
Written in 1989 in the backdrop of [[Ayodhya debate|mandir]]-[[Mandal commission|mandal]] conflict, the [[drama]] draws parallel between the Socio-Religious Political and [[Economic]] condition of existing times and southern [[India]] in the 12th century A.D. during [[Bhakti Movement]].
Eight hundred years ago in the city of [[Kalyan]] a man called [[Basavanna]] assembled a congregation of poets, mystics, [[social]] revolutionaries and philosophers, unmatched for their creativity and social commitment in the [[history]] of [[Karnataka]], even perhaps of [[India]] itself.

They opposed idolatry, rejected temple [[worship]], upheld equality of sexes, and condemned the caste system. Basavanna was leading the movement to remove gender inequality and caste system. But the event took a violent turn when they acted on their beliefs and a Brahmin girl married a cobbler's son, so called a 'low caste' boy. The [[Social movement|movement]] ended in bloodshed so does the hopes of Basavanna died in despair. People too forgot the movement.

Rakt Kalyan (Tale-Danda) deals with few weeks during which a vibrant, prosperous society plunged into anarchy and [[fear|terror]].
In [[Hindi]] it is known as Rakt-Kalyan translated by [[Ram Gopal Bajaj]], first directed by [[Ebrahim Alkazi]] for [[National School of Drama]] and remarkable production by [[Arvind Gaur]] (1995-2008, still running) for Asmita [[Theater]]<ref>{{cite web|url=http://sites.google.com/site/asmitatheatre/girish-karnad-s-play |title=Girish Karnad's Tale-Danda(Rakt Kalyan) |access-date=2009-01-06 |author=Drama critics}}</ref>
[[Telugu language|Telugu]] translation of the play, by [[Bhargavi Rao]] won her the [[Sahitya Akademi Award]] Translation Award in 1995, given by [[Sahitya Akademi]], India's National Academy of Letters.<ref name="Sahitya Akademi Award">{{cite web|url=http://sahitya-akademi.org/sahitya-akademi/awa521.htm#telugu|title=Sahitya Akademi Awards|publisher=Sahitya Akademi|url-status=dead|archive-url=https://web.archive.org/web/20080420161435/http://www.sahitya-akademi.org/sahitya-akademi/awa521.htm#telugu|archive-date=2008-04-20}}</ref>

== Press criticism ==
'''V M Badola''' (''The Pioneer'')
*Among the best things that happened to the [[India]]n theatre in the recent times is the creation of Kannada play ''Taledanda'', ''Rakt Kalyan'', by [[Girish Karnad]]. Arvind Gaur, the director knew the strength of the play lay in its excellent [[Script (performing arts)|script]] and an equally brilliant [[translation]], of it, into Hindi by [[Ram Gopal Bajaj]].Arvind Gaur's main achievement was his deep understanding of the nuances of the play and his impeccable sense of [[choreography]], which was well effected, especially during the crowd scenes .What is more, he used the basement space very imaginatively.Rakt- Kalyan (Taledanda) owes its greatness to the fact that it does not unnecessarily attempt to politicize the issue and for good reasons. Although any attempt to bring about [[social]] reformation does inevitably throw up certain [[political]] challenges it is the existing socio-religious turmoil that creates the biggest impediment and the [[irony]] is that in such circumstances, the inherent Contradictions within a [[social]] structure come into the play. Emotion supersedes reason which consequently hurts the cause.Watching Asmita's ''Rakt Kalyan'', became apparent that lack of [[resources]] need not come in the way of good presentation, given the dedication and commitment of the actors and the [[Theatre director|director]]

'''Romesh chander'''(''[[The Hindu]]'')
*Girish Karnad's ''Rakt Kalyan'' (''Taledanda'')is a superb play, which well illustrates how man has not learnt from history... it is remarkable for Gaur's handling of large [[crowd]] scenes...and for underlining the relevance of the [[Play (theatre)|play]] set in 12th century in south [[India]] to the present day socio-political [[atmosphere]] in the country...like asmita's earlier productions ''Rakt Kalyan'' is mounted on a bare stage without The frills of period costumes with emphasis on the socio-political relevance of the play and in this production succeeds admirably

'''Javed Malik''' (''[[Times of India]]'')
*Play is a complex and incisive investigation of an actual historical [[experiment]] in social reordering and its [[tragic]] failure on the individual as well as the collective level ...Asmita's ''Rakt Kalyan'' endeavors to foreground the play's [[political]] implications particularly in relation to caste.interesting piece of theatre…it is remarkable for director Arvind Gaur's skillful handling of the large cast in terms of blocking and movement.

'''Kavita Nagpal''' (''[[Hindustan Times]]'')
*Girish wrote the [[Play (theatre)|play]] in 1989 when the mandir and masjid movements were beginning to show how relevant the questions posed in the 12th century are Today. The anger of [[society]], unwilling to abandon the safety net of the caste system, turns to frenzy when a Brahmin sharana girl is married to a chamar sharana boy. They are lynched and kalyan is rift with war cries...[[Arvind Gaur]] repeated his Tughlaq technique. Bare sets, symbolic [[costumes]], letting words and characters hold the reins of dramatic power. Bright scenes of lucid argument. House was packed and very responsive.

== Trivia ==
#[[Manu Rishi]]([[Filmfare Best Dialogue Award]]), [[Deepak Dobriyal]], [[Shilpa Shukla]], [[Seema Azmi]], [[Shalini Vatsa]] acted in this play with Arvind Gaur.

==Further reading==
*''Collected Plays: Taledanda, the Fire and the Rain, the Dreams of Tipu Sultan, Flowers and Images: Two Dramatic Monologues Volume 2'', by Girish Karnad. Oxford University Press, USA. {{ISBN|0-19-567311-5}}.

==Translations==
* ''Taledanda hindi'', Ravi Dayal, 1993. {{ISBN|0-86311-529-2}}.

== References ==
{{Reflist}}

* {{cite book |title=Indian English Drama|chapter=Myths in the Plays of Girish Karnad|author=Nand Kumar|publisher=Sarup & Sons|year=2003|isbn=81-7625-353-7|chapter-url=https://books.google.com/books?id=9j7CbYk-IMIC&q=%22Girish+Karnad%22+-inpublisher%3Aicon&pg=PA114 |ref=Ku }}

[[Category:Indian plays]]
[[Category:1990 plays]]
[[Category:Kannada literature]]
[[Category:Existentialist plays]]

Taledanda - Revision history

->Gazal world: added Category:Sahitya Akademi Award-winning works using HotCat

imported>Vgodra: /* About the play */