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Sukumara Natana Thathwa, began with random thoughts, observations, reactions, being noted down for me alone, and then, very soon, it took on an existence of its own, dragging me along with it, tightly chained, so that I was pulled back to the subject in spite of the numerous deviations, where I was forced to play various roles, that of a wife, a mother, a teacher, even a performer! In every role I played , I felt insufficient, incomplete, except a few moments on stage, that stands out as the sole meaningful events that justify ones existence. It is perhaps these shining moments that has convinced me of the worth of this work. It is also the continuous, eternal search for these same moments, where life is transformed and all conflicts are momentarily resolved, when all seems well and alright in this world, that has led me on, into stage experiments with contents, as well as, stylistics of Mohiniattom, involving in-depth interpretations of characters represented on stage, attempting amalgamations of themes, combining fictions with ancient lore, also trying to bring universal relevance in thematic presentations.
Volume V, ART: This volume contains 47 articles by scholars of Art History, representing various aspects of art. It covers the topics like the Buddhist narrative art and Buddha’s iconography with reference to Amaravati school of Art, Jaina Art, Terracotta art, Iconography of Siva, Vishnu, Surya, Mahishasuramardhini, Ganesa, Kartikeya, Dikpalas and Navagrahas and a few articles on Kuchipudi dance and folk art forms. This volume serves as a valuable source book for the students, research scholars and teachers as well in the fields. 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.
Bharata Natyam is currently one of the most popular styles of classical dance in India. It is also well known world-wide. Certain components of this dance have historical associations with religious ritual in the temples of south India. In the course of its transition from performance in temples and courts to the concert stage, the making of modern Bharata Natyam has passed from the purview of traditional/hereditary families, and dancers into the hands of the educated elite. What changes have been brought about in presentation and style as a result of this transition? Although current dancers and teachers make claims for the antiquity of their art, and the authenticity of the tradition, what was the dance of the hereditary practitioners, the devadasis, really like? How much of current practice is an invention of the past fifty years? These and other questions on the fascinating history of the creation of Bharata Natyam are dealt with by Anne-Marie Gaston who provides extensive oral testimony of current perceptions and directions of Bharata Natyam. This illuminating account of how both hereditary and non-hereditary dancers, teachers and critics view the evolution of Bharata Natyam provides a critique of the place of Bharata Natyam in Indian society and of the concept of traditional' in late twentieth-century India.
14 leading 'Ramayana' scholars examine the epic in its myriad contexts throughout South and Southeast Asia. They explore the role the narrative plays in societies as varied as India Indonesia, Thailand and Cambodia. The essays also expand the understanding of the 'text' to include non-verbal renditions of the epic.
With reference to Carnatic music of South India.
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.
On ancient Indic dramaturgy.