By Nandi Bhatia
Because the past due 19th century, theatre has performed an important position in shaping social and political wisdom in India. It has served to elevate issues in post-Independence India in addition. smooth Indian Theatre: A Reader brings jointly writings that talk to the old contexts from which theatrical practices emerged-colonization, socio-cultural suppression and appropriation, intercultural alterations caused by way of the impression of the colonial forces, and acute severe engagement with socio-political concerns led to by means 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 impression of western media in India, and the way mediations of gender, type, and caste impression drama, its language, types, and aesthetics. The advent via Nandi Bhatia offers a complete figuring out of the interface among Indian theatre and 'modernity'.
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Additional info for Modern Indian Theatre: A Reader
Since the British brought modern ideas to India. neren m Enghsh by Reverend Krishna Mohan Banerjea in 1831- Tht Pm",,,'" . Sctnt! JII ustrative ofthe Present State - . or Dr;'am4tu I . . SetKmntd Sally Banes . :nn. N. furd Urwrr:~ IC-_ - p;w " pp. 866- 70. 1995) 0 .... "uterature: . Abdmu, I , p. JM. ol' ~ llllUlflO . ~ocicty III Calcutta- though" was nel[ Iler .. tage d , nor d I d it Ul s plr ~ ~ ,~y s ll c cess~rs . [ deC111 i[ modern because of Its theme , soCi al CI'IOCl sm formmg an integral part of modernism' for the first time in Indian drama, an author .....
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.
The bastions of domestic realism and pIcturesque entertamment, both of which foUowed the Western lead, and proposed more imaginative stagecraft modelled after Sanskrit aesthetics, In the ~mjnal essay Rangamancha (1902), he took a scance of rebellion against cultural imperialism while advocating the banishment of rhe d,St:HI SI • painced scenery: ,_ me European wants his trurh concrete. He would have imaginative rreacs, but he must be deluded by having these imaginings co be exact imitaoons of acrual things.
Modern Indian Theatre: A Reader by Nandi Bhatia