Theatres of India, edited by Professor Ananda Lal, is a comprehensive and accessible guide to theatre in India. The volume surveys both rural and urban modes of Indian theatre across its history of over 2000 years. The first section brings together entries that discuss theatres of India's linguistic regions. The second section includes entries on specific forms and genres, as well as on topics such as street theatre, music, and Tagore's dramatic oeuvre. The book avoids both the Western scholarship's obsession with traditional Asian forms of performance, as well as Indian city-based theatre workers' view that traditional forms do not even qualify as 'theatre'. 'Theatre' in this volume is defined as any form that contains theatre's fundamental element, acting. Importantly, the entries are accompanied by photographs of performances that allow us to view the 'visual-ness' of India's performance forms. In keeping with the highest standards of international reference publishing, Ananda Lal has compiled and edited material from several contributors so that each entry allows us to tap individual documentation and knowledge. Also included in this pioneering, authoritative, and collective resource are short bibliographies for every entry on the regional theatres. Theatres of India will be useful for general readers, theatre professionals, as well as students and researchers of theatre and performance studies.

Based on twelve years of research, this book provides detailed descriptions of the culture of folk theatre and outlines its importance for practitioners, audiences and the worldwide theatre industry, presenting a unique angle on selected performances.

Theatres of Independence is the first comprehensive study of drama, theatre, and urban performance in post-independence India. Combining theatre history with theoretical analysis and literary interpretation, Aparna Dharwadker examines the unprecedented conditions for writing and performance that the experience of new nationhood created in a dozen major Indian languages and offers detailed discussions of the major plays, playwrights, directors, dramatic genres, and theories of drama that have made the contemporary Indian stage a vital part of postcolonial and world theatre.The first part of Dharwadker's study deals with the new dramatic canon that emerged after 1950 and the variety of ways in which plays are written, produced, translated, circulated, and received in a multi-lingual national culture. The second part traces the formation of significant postcolonial dramatic genres from their origins in myth, history, folk narrative, sociopolitical experience, and the intertextual connections between Indian, European, British, and American drama. The book's ten appendixes collect extensive documentation of the work of leading playwrights and directors, as well as a record of the contemporary multilingual performance histories of major Indian, Western, and non-Western plays from all periods and genres. Treating drama and theatre as strategically interrelated activities, the study makes post-independence Indian theatre visible as a multifaceted critical subject to scholars of modern drama, comparative theatre, theatre history, and the new national and postcolonial literatures.

This book critically engages with the study of theatre and performance in colonial India, and relates it with colonial (and postcolonial) discussions on experience, freedom, institution-building, modernity, nation/subject not only as concepts but also as philosophical queries. It opens up with the discourse around ‘Indian theatre’ that was started by the orientalists in the late 18th century, and which continued till much later. The study specifically focuses on the two major urban centres of colonial India: Bombay and Calcutta of the 19th and early 20th centuries. It discusses different cultural practices in colonial India, including the initiation of ‘Indian theatre’ practices, which resulted in many forms of colonial-native ‘theatre’ by the 19th century; the challenges to this dominant discourse from the ‘swadeshi jatra’ (national jatra/theatre) in Bengal, which drew upon earlier folk and religious traditions and was used as a tool by the nationalist movement; and the Indian People’s Theatre Association (IPTA) that functioned from Bombay around the 1940s, which focused on the creation of one national subject – that of the ‘Indian’. The author contextualizes the relevance of the concept of ‘Indian theatre’ in today’s political atmosphere. She also critically analyses the post-Independence Drama Seminar organized by the Sangeet Natak Akademi in 1956 and its relevance to the subsequent organization of ‘Indian theatre’. Many theatre personalities who emerged as faces of smaller theatre committees were part of the seminar which envisioned a national cultural body. This book is an important contribution to the field and is of interest to researchers and students of cultural studies, especially Theatre and Performance Studies, and South Asian Studies.

This book examines folk theatres of North India and discusses their genesis, history and independent trajectory; folk theatre and Sanskrit dramaturgy; cinematic legacy; and theatrical space as performance besides investigating causes, inter-relations within socio-cultural factors, and the performance principles underlying them.

This Encyclopedic Volume Is The First Of Its Kind In Any Language Covering All Of Indian Theatre. Lavishly Illustrated, With Some Rare Photographs From Archival Collections.

Kutiyattam is widely acknowledged as the only living link to India's ancient theatrical tradition. This book discusses the theory and practice of the art form and introduces Kutiyattam to a larger readership. It includes the translation of the performance manual of 'Asokavanikanakam', from Saktibhadra's play 'Ascharyachudamani', as an example. Kutiyattam is widely acknowledged as the only living link to India's ancient theatrical tradition. While its origins are hazy, it is said to have an unbroken history of around two thousand years, combining

Written by one of most renowned culture historians of our times, the present fresh edition with an afterword by the author , describes and presents an analysis of forms such as Yaksagna,Bhagvatamala,Chau,Nautanki,Ramlila,Etc.

After Independence, in 1947, in their efforts to create an 'Indian' theatre that was different from the Westernized, colonial theatre, Indian theatre practitioners began returning to their 'roots' in classical dance, religious ritual, martial arts, popular entertainment and aesthetic theory. The Theatre of Roots - as this movement was known - was the first conscious effort at creating a body of work for urban audiences combining modern European theatre with traditional Indian performance while maintaining its distinction from both. By addressing the politics of aesthetics and by challenging the visual practices, performer/spectator relationships, dramaturgical structures and aesthetic goals of colonial performance, the movement offered a strategy for reassessing colonial ideology and culture and for articulating and defining a newly emerging 'India'. Theatre of Roots presents an in-depth analysis of this movement: its innovations, theories, goals, accomplishments, problems and legacies.

The book provides interesting insights into traditional theatres in India. Written by one of India s well-known contemporary playwrights, it introduces some forms for the first time in English. With stunning photographs, this book reflects the richness of Indian theatre traditions.