Aparna Bhargava Dharwadker, ed. A Poetics of Modernity: Indian Theatre Theory, 1850 to the Present.

Modern Drama ◽  
2020 ◽  
Vol 63 (4) ◽  
pp. 502-505
Author(s):  
Pamela Lothspeich
Keyword(s):  
Theatre Theory ◽  
Indian Theatre

The Indian Theatre, Its Origins and Its Later Developments Under European Influence.

1971 ◽  
Vol 44 (4) ◽  
pp. 631
Author(s):  
Moyra K. Mulholland ◽  
Ramanlal Kanaiyalal Yajnik
Keyword(s):  
Indian Theatre

Pedagogy, practice and research in Indian theatre

2010 ◽  
Vol 35 (3) ◽  
pp. 291-292
Author(s):  
B. ANANTHAKRISHNAN
Keyword(s):  
Royal Academy ◽  
Children's Theatre ◽  
National School ◽  
Wide Range ◽  
History Of ◽  
Prime Objective ◽  
Dramatic Arts ◽  
Set Up ◽  
Traditional Performance ◽  
Indian Theatre

Modern academic training for theatre in India has a history of just over fifty years (since independence). The National School of Drama (NSD) was set up in 1957, but the prime objective of the institution at that time was to generate professionals to develop children's theatre and rural theatre. Although India possessed a wide range of traditional performance cultures throughout the country, from rituals to folk performances and classical performances, the NSD was modelled on the Royal Academy of Dramatic Arts (RADA) since the new institution was led by a graduate of RADA, Professor Ebrahim Alkazi, who put the institution on a functional track. Thus the toolkit used during the initial days was primarily based on Western models conducive to realism rather than growing organically out of the actual practices of the different forms of Indian performance. This early orientation remains today, emphasizing the creation of referential meanings on the stage through conventional methods and devices, taken as the unshakable organizing principle of theatre practice.

Strindberg's A Dream Play: Postmodernist Visions on the Modernist Stage

1999 ◽  
Vol 40 (2) ◽  
pp. 43-70
Author(s):  
Klaus van den Berg
Keyword(s):  
Michel Foucault ◽  
Historical Narrative ◽  
Historical Narratives ◽  
Spatial Relationships ◽  
Theatre History ◽  
Historical Events ◽  
Architectural Styles ◽  
Theatre Theory ◽  
Theatre Historiography ◽  
Historical Periods

Since the 1980s, new approaches to theatre historiography, the study of what Sue-Ellen Case has called the “convergence of history and theory,” have begun to arise in a challenge to generally accepted principles of theatre history, such as the supremacy of independent facts, the autonomy of dramatic texts, and the hierarchy of text, performance, and culture. The French critic and philosopher Michel Foucault has pointed out that the grouping and ordering of events into historical periods creates a “space of reference,” which lends some events a heightened meaning, while obscuring or submerging others. In a substantial challenge to traditional methods of theatre history, historiographers influenced by this view have begun to examine the theoretical underpinnings of historical periodization. In theatre theory, Thomas Postlewait has investigated the often unarticulated assumptions by which theatre historians isolate a group of historical events and designate them with period names.Many scholars now center their attention on historical discontinuity: searching for ruptures in the historical narrative, focusing on dynamics which lend instability rather than stability to historical periods, and reconceptualizing temporal historical narratives into spatial relationships. For example, from a perspective of discontinuity, a play is conceived not simply as a fixed entity created at some moment in history, but as a representation of layers of historical influences; likewise, a theatre building is not simply a material location in space, but a physical expression of historically emergent architectural styles and sociopolitical circumstances, and a performance is not simply a translation of a text to the stage, but a collage of past and emergent cultural and aesthetic processes.

Shakespeare and Indian Theatre

2020 ◽  
Author(s):  
Vikram Singh Thakur
Keyword(s):  
Indian Theatre

scholarly journals Mahesh Dattani’s Dance Like a Man: A Depiction of the Trials and Tribulations of an Androgynous Personality

2020 ◽  
Author(s):  
Chhavi ◽  
◽  
Rajiv Bhushan ◽  
Keyword(s):  
Gender Roles ◽  
Hegemonic Masculinity ◽  
Indian Society ◽  
Indian Family ◽  
Cultural Domain ◽  
Conventional Practice ◽  
Indian Theatre

Abstract Mahesh Dattani is one of the leading Indian dramatists who responded to the problems of sexuality on the canvass of Indian theatre. He examined various facets of subjugation and marginalization rampant in Indian society. His plays focus on the sub-urban Hindu family and its trifle with gender and alternate sexuality. His plots revolve around the damaging implications of patriarchal constructs and his characters strive for liberty and self-satisfaction beneath hegemonic masculinity, compulsive heteronormativity and prejudiced cultural domain. Regarding his famous play Dance Like a Man, this paper critically examines the existing socio-cultural domain which practices politics of exclusion of androgynous identities behind the façade of peacefully cohabiting heterosexual Indian family and shows how Dattani, has remarkably countered the presentation of the polarized association of gender roles with conventional practice through performance of his protagonist. Set against the backdrop of patriarchal mindset, this paper delineates that the victim of patriarchal norms is not a woman but a man, who has traits of androgyny. It gives a brief account to highlight the significance of androgyny and portrays how androgyny is directly proportional to creativity. It elucidates how androgynous men undergo searing experiences of stigma and social untouchability in a traditional setup and how patriarchal norms reinforce dominant powers of society to stunt the growth of their personality.

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