ABSTRACT: My attempt in this paper is to study Karnad’s plays from the point of view of Themes and Techniques. While doing so, the focus will mainly be on Man-Woman relationship with the institution of marriage in the postcolonial society. Karnad is India’s best living playwright whose journey from Yayati to Boiled Beans on Toast holds a mirror to the very evolution of a truly ‘Indian Theatre’ which can be true to its traditions and at the same time responsive to contemporary concerns.
Keywords: Feminism, Patriarchal culture, Sexuality, Race, Gender, Folklore, Myth, Split Personality and Identity Crisis, Womanhood Brahminicide, byword, contemporaneity, continuance, existentialist, funny incensed, invulnerable, mythology, narrative, revenge, rues, spawned and unnerving.

Introduction: Naga-Mandala was published in 1990. Originally it was written in Kannada and later the dramatist trans-created it into English.Naga-Mandala is a feminist play which not only exposes male chauvinism, the oppression of women, the great injustice done to them by men and the patriarchal culture, but also stealthily deflates the concept of chastity. The purport of the folk tale is seemingly to uphold the institution of marriage—it turns the unhappy married life of Rani into a happy one; however, at the same time, owing to its inherent quality of subversion, the same folktale deconstructs the idea that fulfillment of love and desires is found within the sacred predicts of