Theatres of Independence: Drama, Theory, and Urban by Aparna Bhargava Dharwadker

By Aparna Bhargava Dharwadker

Theatres of Independence is the 1st accomplished research of drama, theatre, and concrete functionality in post-independence India. Combining theatre background with theoretical research and literary interpretation, Aparna Dharwadker examines the unheard of stipulations for writing and function that the event of latest nationhood created in a dozen significant Indian languages and gives specific discussions of the key performs, playwrights, administrators, dramatic genres, and theories of drama that experience made the modern Indian level an integral part of postcolonial and international theatre. the 1st a part of Dharwadker's learn offers with the recent dramatic canon that emerged after 1950 and the range of how during which performs are written, produced, translated, circulated, and acquired in a multi-lingual nationwide tradition. the second one half lines the formation of important postcolonial dramatic genres from their origins in delusion, heritage, people narrative, sociopolitical event, and the intertextual connections among Indian, eu, British, and American drama. The book's ten appendixes gather huge documentation of the paintings of prime playwrights and administrators, in addition to a list of the modern multilingual functionality histories of significant Indian, Western, and non-Western performs from all classes and genres. Treating drama and theatre as strategically interrelated actions, the learn makes post-independence Indian theatre noticeable as a multifaceted serious topic to students of recent drama, comparative theatre, theatre historical past, and the hot nationwide and postcolonial literatures.

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N. Panikkar, B. V. Karanth, Vijaya Mehta, Satyadev Dubey, Usha Ganguli, and Neelam Mansingh Chowdhry. The most striking aspect of this commentary is the practitioners’ close involvement with broader contemporaneous developments: in India, the activity of theatre has fostered a powerful sense of community among contemporaries. Self-rebexive authorial comment and the reciprocal dialogue among practitioners have thus emerged as valuable critical resources, and they should become an intrinsic part of the methodology for dealing with Indian theatre as a subject.

1). qxd 7/6/2005 32 8:14 AM Page 32 The Field of Indian Theatre after Independence and protest theatre in India, Sudhanva Deshpande acknowledges that “the radical legacy of IPTA—its emphasis on theatre for the people; its e,orts to revitalize wherever possible the ‘traditional arts’; its e,orts to build a people’s theatre movement under the political guidance, at least initially, of the (then undivided) Communist Party—this radical legacy continues to inspire street theatre of the Left today” (83).

The most striking aspect of this commentary is the practitioners’ close involvement with broader contemporaneous developments: in India, the activity of theatre has fostered a powerful sense of community among contemporaries. Self-rebexive authorial comment and the reciprocal dialogue among practitioners have thus emerged as valuable critical resources, and they should become an intrinsic part of the methodology for dealing with Indian theatre as a subject. The two parts of this book, therefore, focus on those features of post-independence Indian theatre that have shaped it as a multilingual, postcolonial national tradition.

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