Chandrasekhar Kambar is a Kannada novelist, composer, folklorist, and poet. He was born in Ghodgeri, Belgaum district, in 1938. Chandrasekhar was educated in Belgaum, he taught Kannada literature at various institutions before becoming Vice-Chancellor of Kannada University and Chairman, National School of Drama. He also directed films, notably Kadu kudure i.e. `Wild Horse` in 1978. This was adapted from Garcia Lorca`s House of Bernarda Alba. Some of his short early plays like Narcissus in 1969, staged in 1971 and Chalesha i.e. `Man with Spectacles` in 1974, staged 1975 were absurdist in technique. Rishyashringa in 1970, staged 1973. This was cinematized by V. R. K. Prasad in 1976 dealt symbolically with the power of sex in a folk style. Most of Kambar`s full-length drama is based upon traditional themes and forms, especially those of north-Karnataka Bayalata. His breakthrough, Jokumaraswami in 1972, is a folk-mythical ritualistic play about fertility and impotence, and their implications extended to agriculture, as well as the failure of revolution in India. Just as the tenant, and not the landlord, is the real owner of land. The potent servant Basanna happens to own sexually the wife of the impotent village chief. B. V. Karanth`s production, with Girish Karnad as the headman, proved very popular in Karnataka.

Angimyalangi i.e. `Shirt over Shirt` in 1975 shows a man`s disappointment over his wife`s ugliness, pushing him to marry again. But after he realizes her moral beauty, he drops the idea of a second marriage. Jay Sidanayaka i.e. `Victory to Sidanayaka` in 1975 has leftist leanings. It throws light on the vicious element in society through the life of an arrogant administrator, and teaches the philosophy that dreamers cannot change the present. Kambar also edited and modernized the tragic play on illicit love, Sangya-Balya i.e. `Sangya and Balya`, originally written by the folk artist Nilakanthappa Pattar, or Pattar Master, and directed it himself in 1975. Harakeya kuri i.e. `Sacrificial Sheep` in 1981, staged 1983 powerfully satirize contemporary Karnataka through a minister`s political exploitation of an officer. Huliya neralu i.e. `The Shadow of the Tiger` in 1984 is another folk-mythical play. The tiger symbolizes truth and its shadow, untruth. There can be no truth without untruth. Siri Sampige in 1986 deals with the dichotomies between mind and body, man and woman. Based on a Kannada folk tale about a prince who has human and serpentine forms also adapted by Girish Karnad in Naga-mandala, 1988, it is composed in Yakshagana style.

Chandrasekhar Kambar contributed immensely to Kannada theatre by drawing upon folk themes and techniques, particularly of north Karnataka. In his traditional plays he often reinterprets folk myths and in his social plays he satirizes the corruption and other vices of contemporary society. In his older absurdist work he employed that idiom to present rational themes. Most of his plays are known for their musical quality and vigorous language. Because of their heavy dose of north-Karnataka Kannada, especially the dialect of Belgaum district, they pose great challenges to the translator.