These lively, humorous plays use witty, tongue-in-cheek comedy to communicate social ideas and messages with a contemporary relevance. In Beyond the Land of Hattamala, Kena and Becha, two likeable thieves, jump into a river to escape being caught and get washed up on the shores of a never-never land where buying and selling are alien concepts since everyone works unitedly and everything belongs to the entire community, to be used and consumed as needed. Several hilarious misadventures follow as the pair adjusts to the situation. In Scandal in Fairyland a streetsmart newspaper boy vends the Daily Fairy Green which carries fresh news of the heroic prince Thunderbolt who is a champion at beheading ogres which threaten kingdoms. As the action unfolds we discover wheels within wheels, double-dealing and behind-the-scenes fixing. It all however ends happily in true fairytale fashion.

These lively, humorous plays use witty, tongue-in-cheek comedy to communicate social ideas and messages with a contemporary relevance. In Beyond the Land of Hattamala, Kena and Becha, two likeable thieves, jump into a river to escape being caught and get washed up on the shores of a never-never land where buying and selling are alien concepts since everyone works unitedly and everything belongs to the entire community, to be used and consumed as needed. Several hilarious misadventures follow as the pair adjusts to the situation. In Scandal in Fairyland a streetsmart newspaper boy vends the Daily Fairy Green which carries fresh news of the heroic prince Thunderbolt who is a champion at beheading ogres which threaten kingdoms. As the action unfolds we discover wheels within wheels, double-dealing and behind-the-scenes fixing. It all however ends happily in true fairytale fashion.

This is the first-ever, full-length study of Badal Sircar's Third Theatre. Sircar was a very prominent playwright of modern Bengali Theatre. It challenges some of the well-established notions of the Third Theatre. It brings to the fore the lost voices of some members of the Third Theatre. It has some rare photographs of Shatabdi, Sircar's Theatre group.

The essays gathered here alternately adjust the focal length of the critical lens brought to bear upon texts and contexts in the area of Indian writing in English. They bring into view both intense engagements with major voices in this literary scene and the wider socio-historical perspectives in which they have thrived. Three clearly defined sections on the genres of poetry, prose, and drama are augmented by three incisive interviews with the diasporic Indian English poet Bashabi Fraser, the renowned Indian English fiction writer Kunal Basu, and the premier Indian English playwright Mahesh Dattani. The volume will appeal to students and teachers of postcolonial and comparative literatures. It raises crucial and timely questions about the state of culture in India and the world, the crisis of intolerance, and the loss of memory and diversity. It hones a post-millennial perspective on literature written in the late 20th and early 21st centuries.

In this book Brian Crow and Chris Banfield provide an introduction to post-colonial theatre by concentrating on the work of major dramatists from the Third World and subordinated cultures in the first world. Crow and Banfield consider the plays of such writers as Wole Soyinka and Athol Fugard and his collaborators from Africa; Derek Walcott from the West Indies; August Wilson and Jack Davis, who write from and about the experience of Black communities in the USA and Australia respectively; and Badal Sircar and Girish Karnad from India. Although these dramatists reflect diverse cultures and histories, they share the common condition of cultural subjection or oppression, which has shaped their theatres. Each chapter contains an informative list of primary source material and further reading about the dramatists. The book will be of interest to students and scholars of theatre and cultural history.

Volume IX, Literature: This volume contains 20 articles on Literature and Literary studies. Topics covered in the Volume include Charaka and Susrutha Samhita, Ramayana, Puranas, Literature of the Mughal period like Babur-nama, Annamayya Samkirtanas, Women’s Literature and poets. This Volume serves as a source book for students, research scholars and teachers of Literature, Literary Criticism in historical context. This volume also highlights the love and affection of Prof. P. Chenna Reddy enjoys in the intellectual world. The felicitation Volume is brought out in a series of 12 independent books covering a total of 460 articles. Every volume contains two sections. The first section contains the biographical sketch of Prof. P. Chenna Reddy, his achievements and contribution to archaeology, history and Society. The second section of each volume is subject specific, E.g., Volume-I on Archaeology, Volume II on Early and Medieval Indian History, Volume III on Modern Indian History, Volume IV on Epigraphy and Numismatics, Volume V on Art , Volume VI on Architecture, Volume VII on Religion and Philosophy, Volume VIII on Economy, Trade and Commerce, Volume IX on Literature, Volume X Tribalore and Folklore, Volume XI Contemporary India and Diaspora, Volume XII, Tourism and contains as many as 460 articles and contributed by renowned scholars.

Love and hatred, desire and disappointment, pleasure and pain, reunion and separation: that s the gamut of emotions that come alive in Ramachandra Sharma s Home and Away. Sharma, one of the leading lights of Navya fiction describes his experiences and concerns, both at home and abroad, in these stories.

In this unusual Marathi play the playwright weaves a complex narrative with just four characters Begum Barve, a small-time female impersonator who has spent his life playing bit roles in the professional Marathi theatre of the early twentieth century, his exploitative employer Shyamrao, and two clerks, Jawdekar and Bawdekar. Trapped between sensuous longings and the sordid reality of their humdrum existence, they seek redemption in make-believe. Layers of space and time interweave and overlap in this powerfully haunting play as dreams take shape only to turn into nightmares. Begum Barve in the original Marathi was directed by the playwright himself; it has also been performed in Hindi and Gujarati adaptations.This new edition supplements the text with a critical essay and a note on the songs by Urmila Bhirdikar, translator, critic, musicologist, vocalist and Reader, Department of English, Pune University; an interview with the playwright by Dr Shubhada Shelke, scholar and commentator on Marathi theatre, and a note by Amal Allana wo directed the play in Hindi. Satish Alekar is Professor and Head, Lalit Kala Kendra, Pune University, and Vice-Chairman, National School of Drama, Nw Delhi. Shanta Gokhale, the translator is also a critic, playwright and author of Playwright at the Centre: Marathi Drama from 1843 to the Present (Seagull Books, Calcutta, 2000).