Putting the Script First: Bengaluru Theatre Festival Elevates New Kannada Playwriting Voices

The Chiguru X Kusumaale festival arrives in Bengaluru this June, offering a rare, deep dive into the craft of original playwriting through the lens of the Girish Karnad Fellowship.

For decades, the Indian theatre circuit has predominantly fixated on the stardom of actors and the stylistic choices of directors. A new initiative in Bengaluru, however, is shifting the spotlight back to the source: the playwright. Organised by the Bhasha Centre, the Chiguru X Kusumaale theatre festival will run from June 6 to 14 at the Prestige Centre for Performing Arts, presenting a dedicated platform for nine original Kannada scripts that have been meticulously developed under the banner of the Girish Karnad Fellowship for Kannada Playwriting.

Cultivating the Kannada Voice

The festival is designed to address a persistent gap in the regional theatre ecosystem—the lack of structured spaces for writers to develop their craft. Vivek Madan of the Bhasha Centre notes that the event serves as a vital homecoming for stories rooted in specific cultural contexts. By focusing on Kannada-language narratives, the festival allows playwrights to explore their lived realities without the pressure of conforming to mainstream tropes. "There is a need for spaces that people can claim as their own," Madan explains, highlighting the importance of language-specific artistic environments.

The Art of the Rewrite

The nine plays showcased at this festival are the culmination of a rigorous mentorship programme. Facilitator Irawati Karnik emphasises that the journey from an initial draft to a stage-ready script is one defined by persistence. "Good plays are not written, they’re rewritten," she observes, pointing to the intense, iterative process that helped participants find their own creative solutions. This emphasis on the "writing process" sets this festival apart from conventional productions, where the finished show often obscures the trial-and-error work that preceded it.

A Hybrid Stage

Audiences will encounter these stories through two different formats. Five of the works will be staged as full-scale productions, while the remaining four will be presented as rehearsed readings. According to the organisers, this distinction is purely logistical rather than a comment on the quality of the work. Among the highlights is L.B.W. by Shrunga BV, a coming-of-age narrative set in 1996 Bengaluru that weaves together themes of friendship, cricket, and personal aspiration.

Beyond the performances, the festival aims to be a communal hub for theatre practitioners and enthusiasts. Between June 6 and 14, the schedule will be packed with seminars, workshops, and open discussions aimed at dissecting the technical and emotional aspects of script development. By creating a collaborative environment, the Bhasha Centre hopes to foster a new generation of Kannada playwrights, ensuring that the legacy of Girish Karnad continues to inspire future narratives.