Communication through the Language of Silence in Mahesh Elkunchwar's Yugant Trilogy
Communication through the language of ‘silence’ in Mahesh Elkunchwar’s ‘Yugant Trilogy
Since the pre-colonial times to the present era of logo-centrism it is ‘communication’ that defines our existence. According to Michel Foucalt, in the universal structure of existence, formation and domination of various power groups are decided through communication and the language used in it. The various power groups constitute the field of truth, by imposing specific knowledge, disciplines and values upon dominated groups and it is only possible through discourse or communication. The language of communication not only implies a specific knowledge of speech but also the way of presenting and capturing the psyche of the individuals. But, in this era of post-modernity a concrete, definite and linear form of speech is gradually failing. Logos or ‘word’ is gradually losing its hierarchal position in the structure of human existence. Post-modernism accepts and celebrates non-linearity and fragmentation and silence or mere-speechlessness appears to be the most suitable mode of interaction. Individuals are able to communicate their thoughts and feelings simply through physical and emotional expressions. Universally the term ‘silence’ is interpreted in a multifarious manner. Eminent playwright Mahesh Elkunchwar promotes ‘silence’ as the language of communication in his Yugant Trilogy- Old-stone Mansion (Wada Chirebandi), The Pond (Magna Talyakathi), and Apocalypse (Yugant). In fact ‘silence’ appears to be the protagonist of the trilogy. Though the usual interaction between the characters takes place, but their speech is often punctuated with silence which plays a pivotal role in signifying the change of attitude, behavior and emotions among characters. The gravity of the situations is also revealed. The ‘Dead silence’ that enraptures the introductory scene of the first play reveals the dilapidated existence of the Deshpandes of Dharangaon. The trilogy conveys the process of
Since the pre-colonial times to the present era of logo-centrism it is ‘communication’ that defines our existence. According to Michel Foucalt, in the universal structure of existence, formation and domination of various power groups are decided through communication and the language used in it. The various power groups constitute the field of truth, by imposing specific knowledge, disciplines and values upon dominated groups and it is only possible through discourse or communication. The language of communication not only implies a specific knowledge of speech but also the way of presenting and capturing the psyche of the individuals. But, in this era of post-modernity a concrete, definite and linear form of speech is gradually failing. Logos or ‘word’ is gradually losing its hierarchal position in the structure of human existence. Post-modernism accepts and celebrates non-linearity and fragmentation and silence or mere-speechlessness appears to be the most suitable mode of interaction. Individuals are able to communicate their thoughts and feelings simply through physical and emotional expressions. Universally the term ‘silence’ is interpreted in a multifarious manner. Eminent playwright Mahesh Elkunchwar promotes ‘silence’ as the language of communication in his Yugant Trilogy- Old-stone Mansion (Wada Chirebandi), The Pond (Magna Talyakathi), and Apocalypse (Yugant). In fact ‘silence’ appears to be the protagonist of the trilogy. Though the usual interaction between the characters takes place, but their speech is often punctuated with silence which plays a pivotal role in signifying the change of attitude, behavior and emotions among characters. The gravity of the situations is also revealed. The ‘Dead silence’ that enraptures the introductory scene of the first play reveals the dilapidated existence of the Deshpandes of Dharangaon. The trilogy conveys the process of