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For thousands of years music in India has been considered a signifying art. Indian music creates and represents meanings of all kings, some of which extend outwardly to the cosmos, while others arise inwardly, in the refined feelings which a musical connoisseur experiences when listening to it. In this book the author explores signification in Hindustani classical music along a two-fold path. Martineq first constructs a theory of musical semiotics based on the sign-theories of Charles Sanders Peirce. He then applies his theory to the analysis of various types of Hindustani music and how they generate significations. The author engages such fundamental issues as sound quality, raga, tala and form, while advancing his unique interpretations of well-known semiotic phenomena like iconicity, metalanguage, indexicality, symbolism, Martinez`s study also provides deep insight into semiotic issues of musical perception, performance, scholarship, and composition. An specially innovative and extensive section of the book analyzes representations in Hindustani music in terms of the Indian aesthetic theory of rasa. The evolution of the rasa system as applied to musical structures is traced historically and analyzed semiotically. In the light of Martinez`s theories, Hindustani music reveals itself to be both a delightfully sensuous and highly sophisticated system of acoustic representations.
Post-millennial Marathi cinema is a dynamic and expanding practice that is celebrated as a “new-wave” but has not received much critical engagement. This book presents the first comprehensive inquiry of contemporary films and examines their textual, industrial, and cultural intersections to understand what constitutes the “new-ness” of Marathi cinema. Establishing the vernacular particularity of Marathi cinema, the book argues that newage films are actively engaged in a reflexive intellectual and social critique as a mark of new filmmaking in India. In the diversity of genres and topics handled by Marathi filmmakers since 2004 this study identifies four broad affective topographies for analysis – an imagery of nostalgia underpinning the narrative strategies of Marathi films, the articulation of social aspiration as a theme as well as a societal dialectic, an experiential reflexivity in the representation of Dalit and marginal narratives, and a mediatic network of border-crossings through transnational influences on films. Contemporary Marathi Cinema: Space, Marginality, and Aspiration offers a critical dialogue on broad issues of film policy, multiplex economics, genre forms, queer politics, and neoliberal contexts. It will be indispensable to students and researchers of Indian cinemas, regional filmmaking, media, cultural studies, popular culture and performance, literature, and South Asian studies, and will also be of interest to filmmakers and cinephiles.
This book explores the training methods, performance and aesthetics of Kudiyattam, the oldest existing theatre from in the world. It brings together for the first time a comprehensive analysis of the psycho-physical techniques employed by the actors in Kerala of this temple theatre form. The book offers an in-depth analysis of pakarnnattam, a unique acting technique that helps the actor to perform multiple characters in a single dramatic situation. This multiple transformational acting technique is highly relevant to enhance the actor¿s abilities such as imagination, spontaneity and improvisation. The book employs a range of theoretical models developed from performance studies, gender theories, consciousness studies, Indian aesthetic and philosophical theories to investigate the actor¿s body in training and performance. Most significantly, for the first time, the book offers some extra-ordinary insights into the links between the actor¿s breathing and consciousness. It covers a range of topics: Hatha Yoga breathing techniques, eye training, hand gestures, movement techniques, voice training and rasa acting. Dr Arya Madhavan is a Lecturer in Drama at Lincoln School of Humanities and Performing Arts, University of Lincoln, United Kingdom