Girish Karnad occupies a seminal position in the evolution of modern Indian drama, particularly in his innovative use of folk representations to negotiate contemporary concerns. Emerging in the post-independence period, Karnad’s dramaturgy reflects a conscious attempt to bridge the gap between traditional performance practices and modern theatrical expression. Modern Indian drama, shaped by colonial encounters, nationalist aspirations, and postcolonial anxieties, witnessed playwrights experimenting with form, language, and content. Within this framework, Karnad stands out for his ability to draw upon indigenous narrative traditions, myths, and folklore, while simultaneously engaging with modern existential, social, and political dilemmas. The development of modern Indian drama can be traced through playwrights such as Rabindranath Tagore, Mohan Rakesh, and Vijay Tendulkar, who contributed to shaping a theatre that was both rooted and experimental. However, unlike some of his contemporaries who leaned heavily toward realism or social critique, Karnad employed folk representations as a dynamic dramaturgical device. His engagement with forms like Yakshagana, oral storytelling, myths, and legends allowed him to recontextualize traditional narratives in ways that resonated with modern audiences. One of Karnad’s most notable contributions lies in his reinterpretation of myth and folklore. In plays like Hayavadana, he adapts a story from the Kathasaritsagara and Thomas Mann’s retelling to explore questions of identity, completeness, and human desire. The use of a folk theatre framework, particularly the influence of Yakshagana, is evident in the presence of a Bhagavata (narrator), masks, and stylized performance techniques. These elements not only provide aesthetic richness but also create a distance that