Modern Indian Theatre: A Reader by Nandi Bhatia

By Nandi Bhatia

Because the past due 19th century, theatre has performed an important position in shaping social and political know-how in India. It has served to elevate issues in post-Independence India besides. sleek Indian Theatre: A Reader brings jointly writings that talk to the ancient contexts from which theatrical practices emerged-colonization, socio-cultural suppression and appropriation, intercultural alterations caused via the impression of the colonial forces, and acute serious engagement with socio-political matters caused by way of the hopes and screw ups of Independence. the quantity addresses pertinent questions like how drama impacts social swap, the reaction of drama to the emergence and domination of mass media and the proliferation and effect of western media in India, and the way mediations of gender, classification, and caste impression drama, its language, types, and aesthetics. The advent by means of Nandi Bhatia offers a accomplished realizing of the interface among Indian theatre and 'modernity'.

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Mgs 111 colonial and Story, POStcolonial Ihr ~nd (';I. lI The apparently simple word ' modern' requires some amount of explanation, if nor precise definition, before one emba rks on a quest for the characteristic traits of modern Indian theatre. n cognoscenti , use 'modern' very loosely to refer to postIndependence developments, often unaware that those very aspects chat they associate with modernity had aU appeared previously at different rimes during the course of the colonial period in India.

I · hip' b manifest in all ki nds of commonalities and Interre a(lons . ~~~in ~ndian art form s, including the performing arts. Refle ct-Ing :hiSessential cultural identity and world "iew, Indian theatre g:,~~:~ ·nterrelated and possess numerous common fearures , . ·onal hiStory are I the theatre historian, especially one wr\tmg a nau . ng r iven [he complexirv of Indian theatre, thiS IS a I . G con text. -' . d' · ductlOn 'bl" (ask . To be fair , Richmon s IIltro but not ,Impossl.. . les to « Scaphic framework of five partially overlappmg ClfC oners a I all genres mmon fearures within several thoug 1 not.

Of Yakshagana. D Oh u nng [ e early• 20th cen tu ry. a salvage operation on existing fo rms such as the Yakshagana was anempted so as to prevent its retrospective loss. S. a kshagana that was an imagined authemiciry. Perfo rman ce hi Story may then be an archival idea, prod uced, amo ng other things, by copied and recopied manuals like those of Ascarayacudamani, by a web of memories, by a succession of ap prenticeships. In so me senses all these imagined authenticities are fables of identity where the ultimate referent is a spirit untainted by the fragmentation of modem life.

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