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The three plays collected in the volume are ‘The Persecuted’ by Krishna Mohan Banerjee, ‘Rizia’ by Michael Madhusudan Dutt, and ‘Kaminee’ (anon.) From the beginning, Indian dramatists who chose to write in English made sociopolitical statements that resonate even today. The unavailability of their plays has resulted in little or no analysis other than secondary references, often inaccurate. For the first time, three of these texts have been unearthed and reprinted in this volume, enhanced by a general introduction, separate introductions to each play, and explanatory notes. Krishna Mohana Banerjea based ‘The Persecuted, or Dramatic Scenes Illustrative of the Present State of Hindoo Society in Calcutta’ (1831), the first Indian drama in English, on his own experience of ostracism after his “Young Bengal” friends flouted the conservative codes at his home. Michael Madhusudan Dutt composed in Madras his first play, ‘Rizia: Empress of Inde’ (1855), a tragedy about the 13th-century Sultana of Delhi who loved her Abyssinian slave. It has been reconstructed with the aid of a recently-discovered manuscript in Dutt’s hand. The anonymously-published ‘Kaminee: The Virgin Widow’ (1874) relates the fate of an accomplished teenage widow in Calcutta when the Hindu Widows’ Remarriage Act has become law yet most people pay no heed to it.
Kaustav Chakraborty (PhD) is Assistant Professor, Department of English, Southfield (formerly Loreto) College, Darjeeling, West Bengal. He has authored one book and also edited a volume of critical essays. Dr. Chakraborty has contributed many articles in reputed national journals and anthologies. This edited volume on Indian Drama in English, including Indian plays in English translation, with contributions from experts specializing on the different playwrights, covers the works of major dramatists who have given a distinctive shape to this enormous mass of creative material. This comprehensive and well-researched text, in its second edition, continues to explore the major Indian playwrights in English. It encompasses works like Rabindranath Tagore’s Red Oleanders; Vijay Tendulkar’s Silence! The Court is in Session, Kanyadaan, The Vultures, and Kamala; Girish Karnad’s Hayavadana, Tughlaq, Naga Mandala, and The Fire and the Rain; Mahasweta Devi’s The Mother of 1084; Mahesh Dattani’s Final Solutions, Tara, Dance Like a Man, and Bravely Fought the Queen; Habib Tanvir’s Charandas Chor; Indira Parthasarathy’s Auranzeb; and Badal Sircar’s Evam Indrajit. The book focuses on different aspects of their plays and shows how the Indian Drama in English, while maintaining its relation with the tradition, has made bold innovations and fruitful experiments in terms of both thematic and technical excellence. New to This Edition The new edition incorporates two new essays on very popular plays of all times—one, Manipuri dramatist Ratan Thiyam’s Chakravyuh, and the second, Maharashtrian playwright, Mahesh Elkunchwar‘s Desire in the Rocks. The essays added give a panoramic view of the plays in succinct style and simple language. The book is intended for the undergraduate and postgraduate students of English literature. Besides, it will also be valuable for those who wish to delve deeper into the plays covered and analyzed in the text.
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.
The Present Critical Anthology On Indian-English Drama Is A Welcome Addition To The Ever-Increasing Repertoire Of The Academic World. It Contains Some Twenty-Two Papers On Diverse Authors, Themes And Trends. The Authors Treated In It Are Girish Karnad, Mahesh Dattani, Badal Sircar, Rabindranath Tagore (Chronologically, Tagore Should Have Been Placed First), And Vijay Tendulkar. The Themes Dealt With Herein Are Myths And Folk Tales, Religious Propensity, Social Alienation, Audience Participation, Feminine Psyche, Role Of Freedom, And Man-Woman Relationship. And The Trends Touched Upon In This Anthology Are Mythic And Symbolic Interpretations, Focusing On Folklore, Experimentations In Third Theatre And Street Plays, And Feminist Approaches To Certain Plays. The Broad Spectrum Of Indian-English Drama Has Also Been Presented In A Few Papers.In Its Present Shape And Size, This Anthology Will, Hopefully, Find A Place On The Library Shelves And Enlighten The Academics On The Perspectives And Challenges Inherent In Indian-English Drama.
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.
‘Rabindranath Tagore's Drama in the Perspective of Indian Theatre’ maps Tagore’s place in the Indian dramatic/performance traditions by examining unexplored critical perspectives on his drama such as his texts as performance texts; their exploration in multimedia; reflections of Indian culture in his plays; comparison with playwrights; theatrical links to his world of music and performance genres; his plays in the context of cross-cultural, intercultural theatre; the playwright as a poet-performer-composer and their interconnections and his drama on the Indian stage.
This anthology of essays maps the divergent issues that have become relevant in contemporary Indian English poetry and drama. By providing a clear idea about the new themes, techniques and methods used by the Indian English poets and playwrights to address the issues emerging in the changing socio-cultural scenario, particularly during the post-globalization period, the essays offer insightful observations on canon formation and its reception. It is high time to consider afresh whether the canons of Indian English poetry and drama have widened their scope to include innovative forms of writing or whether they have evolved significantly to generate novel perspectives. These questions, which are linked with the issue of canon formation and its reception are intricately woven into the fabric of these essays. This anthology will respond to the scholarly interests of inquisitive students, research scholars and academics in the field of Indian English literature.
Written at Derek Walcott's suggestion, and based on interviews with the playwright and actors, this is the first detailed study of a post-colonial theatre company and the problems of creating `serious' theatre in the former colonies. The book shows how Walcott strove to create a world class theatre ensemble in the West Indies - a Trinidadian Brecht Berliner ensemble - and traces his life and career in West Indian theatre, and the history of the Trinidad Theatre Workshop. Beginning with an actors' studio and the vision of a West Indian theatre company of international standards with its own style of acting, Derek Walcott developed the most important theatre company in the West Indies. This was the company which first performed his Dream on Monkey Mountain, the musical version of Ti-Jean and his Brothers, The Joker of Seville, and O Babylon! A major contribution to West Indian history and theatre, Bruce King's study reveals the heroic will of Derek Walcott and his actors, and their determination to prove that West Indian drama was a force with which to be reckoned.