Anweshi

Malayalam drama underwent a significant development in the 1930's, with the discovery of Ibsen. A. Balakrishnapillai, one of the major critics of the period, translated Ibsen's 'Ghosts' to Malayalam, in 1936 and wrote articles to popularize, Ibsen's creations. In1940's C. Narayanapillai's translation of 'Rosmersholm' and "Adukkalayilninnum arangathekku" (from Kitchen to the scene of action 1930) by V.T Bhatathirippadu, trace the history of namboothiri women's liberation. VT's 'Rithumathi' (the nubile maiden 1939) is noted for its ideological

Drama

The dramatic literature in Malayalam was ignited with the Kerala varma's translation of Abhijnana Sakundalam, a popular hit. Numerous other translations were made and a few put on stage. C.V Raman pillai's Chandramukhivilasam (1885) Kochunnithampuran's Kalyanikalyanam (1888) K.C Kesavappillai's Lakshmikalyanam (1893)

Kandathil Varghese mappillai's 'Ebrayakkutty' (1894) as well as Kalahinidamanakam (from Shakespeare's Taming of the shrew) and Kocheepan Tharakan's 'Mariyamma' (1903) were the major landmarks.After a short break C.V Ramanpillai returned to the state in 1909 with 'Kuruppillakalari', a social satire in the manner of Gold smith and Sheridan. C.V's later dramatic works include 'Tentanamkottu Pachan' (1918) and 'Butlar Pappan' (1921).

trust; K Damodaran's 'Pattabakki' (1938) is the first play with a socio- political theme. In the 40's new playwrights like N.Krishnappillai, Pulimana Parameswaranpillai, Edassery Govindan Nair and C.J Thomas brought to the stage much needed seriousness of genuine tragedy. Krishnapillai's major works are 'Bhagnabavanam' (1942)'Kanyaka' (1944) and 'balabalam' (1946). Pulimana Parameswaranpilllai's 'Samathuavadi' (1944) is a precious work which employs the expressionist device with consummate skill. Edasseri's 'Koottukrishi'(1950) emphasized the value of rustic realism .

C.J Thomas, through his drama, 'Avan veendum varunnu' gives a new dimension to the serious plot, which anticipates the later development of Malayalam drama. His experimental urge achieves magnificent fulfillment in 'Crime 27 of 1128' (1954), a challenge to directors and actors, stays unique among Malayalam dramas.

The 50's to early 60's were the period of stage musicals often with a pronounced socio-political bias. Thoppil Bhasi, N.N pillai, K.T Muhammad, G. Sankarappillai and Kavalam Narayanappanikkar kept the theatre active and meaningful during the post independence period.

E.V Krishnappillai inherited from C.V Raman pillai's tradition of social satire in one hand and historical tragedy on the other. N.P Chellappan Nair, M.G Kesavapillai and T.NGopinathanNair pursued E.V's native comic legacy. His tragic heritage was sustained and improved up on by Kainikkkara Padmanabha pillai with his 'Veluthampi Dalava' and 'Kalvariyile kalpapadapam' (1934) Kappana

Krishna Menon with his 'Ceraman perumal' and 'Pazhassi Raja', Kainikkara krishnappillai with his 'Harischanndran' (1938) and Kuttanad Ramakrishna Pillai with his 'Thapthabhashpam' (1934)