In its 50th year, theatre doyen BV Karanth's repertory Benaka is still going steady

When Girish Karnad’s book 'Hayavadana' was published in 1971, it was just a two-act play. It was an important play in the tradition of Kannada literature and Karnad later translated it into English.

In a conversation with The Federal, renowned theatre and film personality T S Nagabharana, who was a close associate of BV Karanth, the famed theatre personality, reminisces, "It was premiered in Bengaluru in 1972, and of course, the doyen of Indian theatre B V Karanth directed the first production. In a way, 'Hayavadana' revolutionized Kannada theatre to a large extent and became an immediate success with audiences and critics alike. Using traditional theatre techniques such as masks and a Sutradhara (narrator), the play examined modern questions of identity and selfhood."

Recounting the impact of 'Hayavadana' on her, renowned writer, poet and cultural critic Prathibha Nandakumar points out, “After all these years, the scenes of 'Hayavadana' are still crystal clear in my mind. For instance, the marriage of Padmini, which Karanth created on stage in a jiffy with minimalist props.”

B V Karanth himself translated the play into Hindi, and another doyen of Indian theatre, Satyadev Dubey, directed it. It was staged in 1975. The ensemble cast included theatre personalities like Amol Palekar, Amarish Puri, and Sunil Pradhan.

The reason for remembering Karanth’s production of 'Hayavadana' is largely because Benaka (an acronym for Bengaluru Nagara Kalavidaru), one of Karnataka’s premiere amateur theatre groups founded by B V Karanth in 1974, is celebrating its 50th anniversary.

As part of its ongoing 50th anniversary celebrations, the repertory hosted a two-day programme on January 29 and 30th this year, featuring seminars and plays.

A digital audio of B V Karanth’s landmark play 'Kindara Jogi' was also released and 'Jokumaraswamy' was staged. In the seminars that were organised, many theatre and literary personalities including H S Venkateshamurthy, Arundhati Nag and B R Lakshman Rao discussed Benaka’s contribution towards the amateur theatre movement in Karnataka, besides B V Karanth’s significant contribution to the world of theatre.

Benaka staged ‘Kindara Jogi’ too on the occasion.

Theatre and film actor Sundar Raj, another close associate of Karanth, recalls, “From the very beginning, Benaka has been staging Kannada plays that explore and uncover the dynamic socio-cultural, democratic and political scenarios around us. This paved the way for Benaka to emerge as an amateur repertory with limited facilities and no external financial assistance. But it survived because its participating members pooled their resources together.”

Underlining the contribution of amateur theatre to the cultural renaissance of the 70s, Prathibha Nandakumar notes: “In fact, whatever Kannada theatre has achieved today is the result of the revolution started by B V Karanth.”

Tracing the genesis of Benaka, theatre personality J Lokesh, former president Karnataka Nataka Academy, also acknowledges the contribution of Bayalu Rangotsava (Open-air theatre festival) in 1972, which transformed Karnataka's amateur theatre scene.

“The 1972 open-air theatre festival showed a new direction to amateur theatre," says Lokesh.

Further, he adds that noted writers including P Lankesh, Chandrashekara Kambara, Chandrashekara Patila started experimenting at that time and they were ably supported by Girish Karnad and BV Karanth.

'Oedipus', 'Jokumaraswamy' and 'Sankrathi' staged at that time changed the very landscape of Kannada theatre."

Theatre personality and organiser, Srinivasa G Kappanna, remembers how Karanth was always thinking out of the box. “He could convert any given space into a theatrical space,” he says with a smile.

Before coming into existence, Benaka, in its fledgling form Shakashylusharu and Benchinaka (Bengaluru Chitra-Nataka Kalavidaru) were staging plays. It was YNK (Y N Krishnamurthy-editor of

Prajavani),who christened the theatre group as Benaka in 1974.

Benaka, which has continued to remain active through the years, has been performing across the country with major productions such as 'Sattavara Neralu', 'Hayavadana', 'Jokumaraswamy', 'Kattale Belaku', 'Hamlet', 'Kage Kunita', 'Yamaranjane Tabarana Kathe', to name a few.

Benaka’s grand revival play is Pu Ti Narasimhachar’s poetic play 'Gokula Nirgamana', which was a masterpiece by B V Karanth.

“He (BV Karanth) designed a wonderful presentation with his visual imagination and unique narration. The contents of his plays are contemporary and relevant even to this day,” says Sundar Raj, adding that Benaka is proud that a number of artists of national and international fame in theatre, television and cinema can trace their roots to Benaka.

Prathiba Nandakumar says, “If B V Karanth were alive, he would have turned 95 years on September 19. The audience could still have found him on stage directing or with a harmonium composing songs. However, Kannada theatre enthusiasts have kept him alive by continuing to stage the plays he directed.”

“Of course, B V Karanth revolutionised not just Kannada theatre, but Indian theatre as well,” notes HS Krishnamurthy (HaSaKru), who assisted Karanth in founding Rangayana in Mysuru.

“Karanth built Rangayana, the one and only government-run theatre repertory in India, with a dream in his eyes. He was in a different league in every aspect and the most original thinker of his days. He has directed over 140 plays in different languages in his lifetime,” says H S Krishnamurthy.

It is not an exaggeration, if not for B V Karanth, the 1970s would never have been called the golden period of theatre in India.

At Benaka, B V Karanth also took a special interest in children’s theatre and directed several plays with children. His wife and noted theatre and film personality Prema Karanth, also promoted children’s theatre. Benaka Theatre repertory launched Tirugata (meandering theatre) and took its plays to various parts of Karnataka.

Benaka’s plays were staged in distant places in every corner of the country, including Delhi, Chandigarh, Kolkata, Hyderabad, Chennai, and Thiruvananthapuram.

“The fifth-generation artists are carrying forward the legacy of Benaka,” observes Nagabharana. And, this is most exemplified in popular actor Yash, who was part of Benaka in the early years of the new millennium. When Yash was still Naveen Kumar Gowda, the eager young boy from Mysuru and not the super star of the KGF franchise, he had met Nagabharana and expressed his desire to be part of Benaka.

“Yash accepted to work backstage and showed tremendous interest in everything that was happening around. At any given time, you could ask him to step into a role due to the absence of an actor. He filled the space without missing a beat or a dialogue. I knew it was only a matter of time before he got popular. He endeared himself to all in the troupe,” Nagabharana recounts.

Benaka artists continue spreading B V Karanth’s theatre music and traditions in different parts of India and other countries. They do this to try and nurture, inculcate and spread theatre culture.

Benaka’s golden jubilee celebrations, which began in January, will conclude in September, Karanth’s birthday month.

“We have planned a series of programmes to make the event memorable. We will stage his memorable plays, render Rangageethegalu (theatre songs) and hold a seminar on Karanth’s contribution to Karnataka and Indian theatre,” shares Nagabharana, who is leading Benaka into the future.