A free-verse translation of Bhasa's Sanskrit play dating back to 400 B. C. Accompanied by directorial notes of Mrinalini Sarabhai, along with line drawings of the mudras or hand gestures essential to the authenticity of expression in Sanskrit plays, with the original and the translation on facing pages.

Rama Panivada has composed the Kamsavaho to celebrate the incident of the slaying of Kamsa by Krsna. The author has given the biography of Krsna up to his slaying of Kamsa.The Inclusion of the Chaya and the addition of the English translation and the critical and explanatory notes would go a long way to facilitate the understanding of the text.

“. . . to suddenly discover yourself existing . . . .” Our Stories: An Introduction to South Asian America is an anthology rooted in community. Bringing together the voices of sixty-four authors—including a wide range of scholars, artists, journalists, and community members—Our Stories weaves together the myriad histories, experiences, perspectives, and identities that make up the South Asian American community. This volume consists of ten chapters that explore both the history of South Asian America, spanning from the 1780s through the present day, and various aspects of the South Asian American experience, from civic engagement to family. Each chapter offers stories of struggle, resistance, inspiration, and joy that disrupt dominant narratives that have erased South Asian Americans’ role in U.S. history and made restrictions on our belonging. By combining these narratives, Our Stories illustrates the diversity, vibrancy, and power of the South Asian American community.

This book uses modern pedagogical methods and tools that allow students to grasp straightforward original Sanskrit texts within weeks.

Kūṭiyāṭṭam, an ancient form of Sanskrit theater from Kerala, was traditionally performed only in temples by members of two temple assistant castes. Today, however, it has spread to other castes and to venues outside temples. It is a fantastically complex, sophisticated, layered performance, toiling at amassing and perfecting ways of materializing a world where gods, demons, and mythical heroes live, bringing the audience into these other realities. Taking an anthropological approach, Awakening a Living World on a Kūṭiyāṭṭam Stage explores how Kūṭiyāṭṭam uses cultural dynamics, gleaned from temple ritual and theater, to remove the distinctions between mundane reality and the mediaeval plays being performed on stage. The unique features of Kūṭiyāṭṭam—makeup masks, enthralling drumming, delivering words in mudrā gestures, a shimmering lamp, male and female actors—all intertwine to animate stories from the great Indian eposes. Analyzing the cultural dynamics at work in Kūṭiyāṭṭam foregrounds a symbolic anthropology in which representation and symbols are shunned, while endless repetitions fill the stage with reverberating somatic intensities of profound depth. Thus, a new kind of living reality emerges that includes the protagonists of the play—gods, demons, humans, animals, and objects—together with the artist, the audience, and beyond.

This book comprehensively chronicles the history of the education policymaking in India from 1947 to 2016 with a focus on the developments after 1964 when the Kothari Commission was constituted. The book is informed by the rare insights acquired by the author while making policy at the state, national, and international levels of governance. Another distinguishing feature of this book lies in the attention it pays to the process and politics of policymaking and the larger setting—or, to use jargon, the political and policy environment— in which policies were made at different points of time. The author brings out a crucial analysis of the Indian educational system against the backdrop of national and global political, economic, and educational developments. Two other distinguishing features of the book are the systematic treatment of the regulation of education and the role of judiciary in the making and implementation of education policies.

Theatre and Religion on Krishna s Stage examines the history and form of India's râs lila folk theatre, and discusses how this theatre functions as a mechanism of worship and spirituality among Krishna devotees in India. From analyses of performances and conversations with performers, audience, and local scholars, Mason argues that râs lila actors and audience alike actively assume roles that locate them together in the spiritual reality that the play represents. Correlating Krishna devotion and theories of religious experience, this book suggests that the emotional experience of theatrical fiction may arise from the propensity of audiences to play out roles of their own through which they share a performance's reality.

James Roose-Evans' list of accomplishments is formidable. Fifty years ago, he founded the Hampstead Theatre. He has written seventeen books, including the best-selling 'Inner Journey: Outer Journey' and 'Experimental Theatre', and has directed countless plays, including the award-winning adaptation of '84 Charing Cross Road'. He is a non-stipendiary Anglican priest, founded the Bleddfa Centre for the Creative Spirit and continues to lead meditation, ritual and theatre master-classes today. His recollections, gathered together here, reveal an array of celebrated actors and writers who were bot5h mentors and friends, including Martha Graham, Sir John Gielgud, Robert Frost and Tennessee Williams. Beyond the anecdotes, lies a memoir which weaves together the strands of a rich, multifaceted, dynamic personality, from an anguished and extraordinary childhood to a fulfilled older age. 'Opening Doors and Windows' is a fresh and absorbing story of a continuous search for answers, a constantly colourful, entertaining and moving account of a many-sided life and what the author stands for. It will captivate and interest readers from all walks of life; and, above all, it will inspire them.