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Relevant bibliographies by topics / Indian drama

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Dissertations / Theses
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Academic literature on the topic 'Indian drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2024

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Journal articles on the topic "Indian drama"

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Momen, Mehnaaz. "Indian Drama." Space and Culture 8, no. 1 (February 2005): 17–30. http://dx.doi.org/10.1177/1206331204272207.

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Witmer, Robert, and Charlotte J. Frisbie. "Southwestern Indian Ritual Drama." Yearbook for Traditional Music 18 (1986): 173. http://dx.doi.org/10.2307/768528.

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Sweet, Jill, and Charlotte J. Frisbie. "Southwestern Indian Ritual Drama." Dance Research Journal 19, no. 2 (1987): 49. http://dx.doi.org/10.2307/1478177.

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D. Mapari, Ms Dimple, and Shankarlal Khandelwal. "Performative Aspects of Mahesh Dattani’s Plays." International Journal of English Literature and Social Sciences 7, no. 4 (2022): 231–37. http://dx.doi.org/10.22161/ijels.74.33.

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Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkable growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations, light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the traditional denotations and connotations of the words’ India’ and ‘Indians’.1 What makes his plays ‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which make his drama stand out.

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RESEN, PUTU TITAH KAWITRI, and ADE DEVIA PRADIPTA. "PENERIMAAN NILAI – NILAI SOFT POWER MELALUI SERIAL DRAMA INDIA OLEH KHALAYAK INDONESIA." Jurnal Ilmiah Widya Sosiopolitika 2, no. 1 (July 22, 2020): 1. http://dx.doi.org/10.24843/jiwsp.2020.v02.i01.p01.

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This article aims at describing the use of drama series as an instruments of soft power, particularly Indian drama series which were aired in Indonesian national television channels. The specific objective of this study is to examine the opinion of Indonesian audiences toward the attractiveness power of the drama series as an instrument of soft power. This research is a descriptive qualitative research using literature study and in depth – interview method. Informants in this study were determined through purposive technique and snowball sampling. Using the concept of soft power, this study found that eventhough Indian drama series are considered quite attractive by Indonesian audiences, not all Indian drama series are able to build a positive image of India. Only the drama series which contains high culture values ??can build positive image of the country. Keyword: India, Indonesia, audiences, drama series, soft power

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Suyang, Gao. "An Analysis of Reservation Writing in Where the Pavement Ends from the Perspective of Internal Colonialism." Social Science, Humanities and Sustainability Research 4, no. 5 (November 1, 2023): p102. http://dx.doi.org/10.22158/sshsr.v4n5p102.

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William Yellow Robe Jr.’s Where the Pavement Ends: Five Native American Plays is his representative drama collection published in 2000. These five dramas faithfully present Indian’s life in Reservation in the 1970s. Based on the perspective of Internal Colonialism, this paper reveals the economic situation, political rights, and Civil Movement of Indian in Reservation. How does the Reservation System affect Indian in the 20th Century? This essay argues that Indian Reservation is the product of White colonization, and the negative effects brought by Whites’ colonization cannot be eliminated. Even today, Indian still struggles to find their place in American society.

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Shahane, Vasant A., and S. Krishna Bhatta. "Indian English Drama: A Critical Study." World Literature Today 62, no. 3 (1988): 509. http://dx.doi.org/10.2307/40144477.

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Azmi, Mamtaj. "New trends in Indian English drama." International Journal of Research in English 2, no. 1 (January 1, 2020): 40–42. http://dx.doi.org/10.33545/26648717.2020.v2.i1a.105.

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Sukla, A. C. "Aesthetics as Mass Culture in Indian Antiquity." Dialogue and Universalism 7, no. 3 (1997): 91–99. http://dx.doi.org/10.5840/du199773/410.

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Aesthetics originated in ancient India (4th c. B.C.) as a descriptive account of the drama which was meant for both entertainment and education of the mass. If the drama was a mass medium, aesthetics — its account — represented the mass culture. Philosophical thinking, rigorous ethical practices and the dramatic art had a common aim — experience of the Reality as a whole. The difference was that while the first two were accessible to only a few elite or intellectuals, the third one was meant for all. The mass was experiencing the representation of Reality in the drama by a dehghtful emotional response. The sensibihty necessary for such response was technically called "like-heartedness" which was also a necessary qualification for a healthy social life.

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Meserve, Walter J. "Shakuntala's Daughters: Women in Contemporary Indian Drama." World Literature Today 63, no. 3 (1989): 421. http://dx.doi.org/10.2307/40145316.

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Dissertations / Theses on the topic "Indian drama"

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Chowdhury, Khairul Haque. "Three Bangladeshi plays considered in postcolonial context." Access E-Book Access E-Book, 1999. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20010919.141455/index.html.

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Naicker, Kivithra. "Questions for Amma: Tracing the manifestations of violence on the South African Indian Female body." Master's thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29586.

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“[i]n the eyes of the law, a woman is both Eve and Eva. As a pure, fragile female she must be specially protected; as a seductive object, from whom men must be protected. In both cases women are the victims” (Navi Pillay in Gqola, 2015: 36). This research investigates performance as a medium through which the South African Indian female body transgresses and transcends the limitations and barriers of identity, culture and society. As this study positions the brown female body as a site for violence and codification, it challenges the mythical and stereotypically gendered representations of brown females in media and culture. In examining the performance of gender through the performative case studies supporting this research, this study critically engages with the fluid and shifting territory of identity and culture, tracing a feminist tradition beyond western notions, challenging overlooked cultural and domestic injustices which perpetuate a culture of patriarchy. Rape culture thrives on manufacturing power and fear, with rape being “sexualised violence” that has “survived as long as it has because it works to keep patriarchy intact” (Gqola, 2015: 21). Through performance, this study documents the manifestations of violence on the brown female body, theoretically engaging with how subtle and surreptitious forms of violence work to reinforce patriarchy playing into rape culture, perpetuating a cycle of oppression. In examining the 'tradition’ of Indian theatre in South Africa, this research examines the theatrical devices used to express anxieties, crisis of identity and representation, focusing on the South African Indian female experience through an auto-ethnographical study interrogating my identity and position as a South African Indian (Hindu-Tamil) female, artist, and feminist scholar. This study also unpacks the complexities and contradictions embedded within the representations of the brown female body in theatre, 'Indian’ and Hindu culture through a feminist lens, arguing that gender stereotypes perpetuate a cycle of oppression; highlighting ways in which the brown female body is trained and disciplined into performing as an Indian woman.

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Staton, Maria S. "Christianity in American Indian plays, 1760s-1850s." Virtual Press, 2006. http://liblink.bsu.edu/uhtbin/catkey/1364944.

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The main purpose of this study is to prove that the view on the American Indians, as it is presented in the plays, is determined by two dissimilar sets of values: those related to Christianity and those associated with democracy. The Christian ideals of mercy and benevolence are counterbalanced by the democratic values of freedom and patriotism in such a way that secular ideals in many cases supersede the religious ones. To achieve the purpose of the dissertation, I sifted the plays for a list of notions related to Christianity and, using textual evidence, demonstrated that these notions were not confined to particular pieces but systematically appeared in a significant number of plays. This method allowed me to make a claim that the motif of Christianity was one of the leading ones, yet it was systematically set against another major recurrent subject—the values of democracy. I also established the types of clerical characters in the plays and discovered their common characteristic—the ultimate bankruptcy of their ideals. This finding supported the main conclusion of this study: in the plays under discussion, Christianity was presented as no longer the only valid system of beliefs and was strongly contested by the outlook of democracy.I discovered that the motif of Christianity in the American Indian plays reveals itself in three ways: in the superiority of Christian civilization over Indian lifestyle, in the characterization of Indians within the framework of Christian morality, and in the importance of Christian clergy in the plays. None of these three topics, however, gets an unequivocal interpretation. First, the notion of Christian corruption is distinctly manifest. Second, the Indian heroes and heroines demonstrate important civic virtues: desire for freedom and willingness to sacrifice themselves for their land. Third, since the representation of the clerics varies from saintliness to villainy, the only thing they have in common is the impracticability and incredulity of the ideas they preach. More fundamental truths, it is suggested, should be sought outside of Christianity, and the newly found values should be not so much of a "Christian" as of "democratic" quality.
Department of English

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Rowe, Julisa. "A guide to ethnodramatology developing culturally appropriate drama in cross-cultural Christian communication : a comparative study of the dramas of Kenya, India and the United States /." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Nees, Heidi L. ""Indian" Summers: Querying Representations of Native American Cultures in Outdoor Historical Drama." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1352840321.

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McGrath, David John. "The representation of the American Indian in the 'comedia'." Thesis, Queen Mary, University of London, 2002. http://qmro.qmul.ac.uk/xmlui/handle/123456789/28812.

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There exist less than thirty known comedias treating Spain's engagement with the New World. With access to the entire corpus, I analyse the genesis of the representative stereotype of the Indian, and trace its transposition from festival pageantry and allegorical iconography to the stage of the comedia. I relate scenes from the plays to works of triumphalist sculpture and the semiology of modem staged spectacle, and compare the sexual metaphor of the iconography of the First Encounter, with a similar tableau from the corpus. I then analyse the emblematic representation of female Indians in the corpus, and their role in securing the inscription of Spanish male "hegemony" and "closure". There follows a discussion of the role of the Devil in the deception of the Indians. I consider several plays in the light of research on the origins of ethnology, and discuss the extent to which the depiction of the Indians on stage can be ascribed to their idolatry and its rituals. I then analyse the plays' demonisation of native orality. The "performance" of the politico-religious Requerimiento, both in history and on the stage, is measured in literary terms against the "fetishisation" of Western writing in the Conquest, followed by an assessment of the interrogation of these issues by Lope de Vega according to the notion of his manipulation of rhetorical "politeness". Finally, I contrast the function of scenes of horror and violence perpetrated by Indians, with those carried out by Spaniards. I return to the topic of staged spectacle and analyse the use of such scenes in "serious" and then "burlesque" mode,as defined according to theories of genre within the comedia. I link this to "carnival humour", and apply this to the comic treatment of topics of cannibalism and mutilation involving the Indians, and ask how this informs upon their representation in the corpus as a whole.

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Shook, Jennifer E. "Unending trails: Oklahoma-as-Indian-territory in performance, print, and digital archives." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6501.

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Far from vanishing as romantically predicted, Native being remains present despite centuries’ efforts of erasure. Far from empty space or a blank page, the state of Oklahoma has always been and continues to be a site of transcultural negotiations. Native playwrights unghost—make visible—those shimmering glimmers when they re-present historical events. Centering the work of Native playwrights from Oklahoma-as-Indian-Territory, I in turn unghost—recover—the connections between historical crises dramatized by Native poets and playwrights and reenacted by historical interpreters in the twentieth and twenty-first centuries, with nineteenth century archives and circulations. I elucidate a new genealogy of Oklahoma-as-Indian-Territory, where borders bend in genre, time, and space. The Native plays here share a time-weaving relationship to earlier historical crises, a resistance to false closure, a recycling of time-worn stereotypes in the service of their undoing. Unghosting Native playwrights can mean reviving those who have fallen out of print, as with Red Renaissance prodigy Hanay Geiogamah, and reclaiming those whose Native identity has been erased, as with Lynn Riggs, whose Green Grow the Lilacs became the largely unsung foundation of the musical Oklahoma!, as well as expanding the dramatic archive to capture plays only found online. My first chapter, “Staking Claims on Mixed-Blood Inheritance,” draws upon performance theorists Diana Taylor and Rebecca Schneider’s work in transcultural written and bodily archives to investigate two key repeated performances: the statehood mock wedding and the Land Run reenactments recently discontinued by the Oklahoma City Public Schools but still celebrated annually by schoolchildren across the state. Juxtaposing them with commemorative poetic performances by Diane Glancy, N. Scott Momaday, Joy Harjo, and LeAnne Howe, I situate these performances not as quirky local fun but as rituals of systemic colonial representational power. My second chapter, “Active States,” unghosts folk drama through Lynn Riggs’ pre-statehood play Green Grow the Lilacs and the collaboratively revised Trail of Tears outdoor spectacle produced for decades by the Cherokee Nation, including the extended material performances of these texts in playbills, a songbook, and a fine press illustrated edition. My third chapter, “Kitchen Table Worlds in Motion: Collaborations in Native New Play Development” examines four recent plays and the development institutions that support them, all breaking new ground in form yet recycling images and adapting texts and experiences from many archives: Hanay Geiogamah’s Foghorn, LeAnne Howe’s The Mascot Opera: A Minuet, Diane Glancy’s Pushing the Bear, and Joy Harjo’s Wings of Night Sky, Wings of Morning Light. My fourth and final chapter continues the exploration of recent work, yet on specific policy issues: the stolen bodies of residential schools and of looted funerary remains, and the ongoing repercussions of these instances of cultural genocide in courts and heritage sites today, as dramatized by Mary Kathryn Nagle and Suzan Shown Harjo in My Father’s Bones, Annette Arkeketa in Ghost Dance, and N. Scott Momaday’s in The Moon in Two Windows.

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Glynn, John Charles. "Kathakali: A study of the aesthetic processes of popular spectators and elitist appreciators engaging with performances in Kerala." University of Sydney. Performance Studies, 2001. http://hdl.handle.net/2123/834.

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This thesis looks at the diverse aesthetic approaches of onlookers to Kathakali, a traditional dance-drama extant in Kerala, India. Its particular contribution is based on fieldwork undertaken in the period 1991-93, especially in the districts of Trichur and Palghat, and distinguishes a continuum of two over-lapping broad groups: popular spectators and elitist appreciators who provide different, contesting voices in the interviews. The aesthetic processes of individuals within these groups of onlookers and the ways in which they may gradually change form the primary focus of this work. Respondents to interviews provide diverse descriptions of their interactions with performances according to their perceived membership to groups of popular spectators or elitist appreciators. They also identify dimensions of performance that may contribute to the development of their own performance competence and their subsequent transition from one group of onlookers to another. The influences that shape the diverse approaches of these groups and have been examined here include traditional Hindu aesthetics, religion, politics, caste structures and the changing shape of patronage, which is itself also a reflection of historical factors of governance. Kathakali is first presented as vignettes of performance that reflect different locations, venues, patronage and program choices. It is then situated in relation to extant, contiguous performance genres that have contributed to its development and/or often share its billing in traditional settings. The politics and aesthetics of the worlds of Kathakali are looked at not only in terms of their traditional, folkloric and classical development but also in contrast to more contemporary, secular and controversial dynamics that are impacting upon Kathakali today.

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Shantz, Valerie. "Yvette Nolan, playwright in context." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/MQ28909.pdf.

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Sharma, Indu. "Analysis of an Indian Commercial Television Drama Series - "Balika Vadhu: Kacchi Umra Ke Pakke Rishte" (Child Bride: Firm Relations at a Tender Age)." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1462303597.

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Books on the topic "Indian drama"

1

G, Joshi R. Myth in Indian drama. New Delhi: B.R. Pub. Corp., 1994.

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Akademi, Sangeet Natak, ed. Indian drama in retrospect. New Delhi: Sangeet Natak Akademi, 2007.

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Indian Drama: Tradition and transition. Kolkata: Books Way, 2014.

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Jaydipsinh, Dodiya, and Surendran K. V, eds. Indian English drama: Critical perspectives. New Delhi: Sarup & Sons, 2000.

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1938-, Deshpande G. P., and Sahitya Akademi, eds. Modern Indian drama: An anthology. New Delhi: Sahitya Akademi, 2000.

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Rajan, Jacob. Indian ink. Wellington, N.Z: Victoria University Press, 2005.

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Indian English drama: A critical study. London: Oriental University Press, 1987.

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Bhatta, S. Krishna. Indian English drama: A critical study. New Delhi: Sterling Publishers, 1987.

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State of Indian drama in English. New Delhi: Authors Press, 2013.

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Dass, Veena Noble. Modern Indian drama in English translation. Hyderabad: V.N. Dass oup, 1988.

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Book chapters on the topic "Indian drama"

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Goswami, Gutimali. "The ‘Feminine’ Construction in Indian Classical Drama." In Indian Classical Literature, 17–26. London: Routledge India, 2024. http://dx.doi.org/10.4324/9781003482499-3.

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Tschacher, Torsten. "Dress, Drama, and Divorce." In Race, Religion, and the ‘Indian Muslim’ Predicament in Singapore, 68–90. New York : Routledge, 2018. | Series: Routledge studies on Islam and Muslims in Southeast Asia ; 3: Routledge, 2017. http://dx.doi.org/10.4324/9781315303390-4.

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Thifault, Paul. "The Indian Princess (1808) by James Nelson Barker." In The Routledge Introduction to American Drama, 21–30. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003142713-3.

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Shivaprakash, H. S., and Kamalakar Bhat. "The Search for the New in Indian Drama and Theatre." In The Word in the World, 151–54. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003427803-19.

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Dimitrova, Diana. "The “Indian” Character of Modern Hindi Drama: Neo-Sanskritic, Pro-Western Naturalistic, or Nativistic Dramas?" In Theology and Literature, 173–83. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403982995_11.

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Spandri, Elena Anna. "Performing the «miasma» of Indian Partition. Terror and romance in Howard Brenton’s Drawing the Line." In Studi di letterature moderne e comparate, 115–29. Florence: Firenze University Press, USiena Press, 2023. http://dx.doi.org/10.36253/979-12-215-0278-7.10.

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Originally performed at London Hampstead Theatre on 3 December 2013, Howard Brenton’s Drawing the Line dramatizes the Partition of India in two distinct nation-states after the Independence in a lush production that highlights personal conflicts and deflates the genocidal implications of the event that changed the future of the Subcontinent. The essay situates Drawing the Line in the context of Brenton’s lifelong engagement with historical theatre and reflects upon the aesthetic and political significance of the marginal role assigned to violence in the drama. It argues that the play performs a postcolonial discourse on South-Asian history, in which cosmopolitan notions of Britishness, Anglo-Indian relations, and colonial rule are interrogated through an ambiguous dramatic irony that, while deploring British ineptitude in handling the Partition process, in fact represents Partition as a colossal tangle of public and private complicities which mitigates the Raj’s responsibilities and tacitly subscribes to a consolatory determinism.

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Schwaderer, Isabella. "Death and Transfiguration: Religion and Belonging in Felix Gotthelf’s Indian Opera Mahadeva (1910)." In Palgrave Series in Asian German Studies, 89–114. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-40375-0_5.

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AbstractDoctor, composer, and Schopenhauer enthusiast Felix Gotthelf (1857–1930) created a symphonic drama Mahadeva (1910) in which he transformed a Goethe ballad into a religious–artistic manifesto. He combined Indian philosophy, as popularized by Paul Deussen, with Christianity and Schopenhauer’s philosophy. Inspired by Richard Wagner, he attempted an Indo-German national and religious revival in music based on a romantic conception of art and religion. It was in effect a conservative reorientation of a philosophical and artistic appropriation of Indian scriptures that betrayed attempts to establish the social ethos of the late German Empire as autochthonous and within the tradition of German intellectual and Reformation history. The author’s contribution is to examine the interconnections between religion, national revival, and music in the context of widespread cultural criticism shortly before the First World War.

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Sanga, Daines Nicodem, Mona N. Mwakalinga, and Issau Athumani Mbura. "Kulfi Is Like a Tanzanian: The Reception of an Indian Television Drama Dubbed in Kiswahili." In Indigenous African Language Media, 11–26. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-0305-4_2.

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Smith, Karen. "India." In Post-Colonial English Drama, 118–32. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-22436-4_8.

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Oberlin, Heike. "III.1.5.5 Indien." In Grundthemen der Literaturwissenschaft: Drama, edited by Andreas Englhart and Franziska Schößler, 252–66. Berlin, Boston: De Gruyter, 2018. http://dx.doi.org/10.1515/9783110379594-011.

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Conference papers on the topic "Indian drama"

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Khan, Amara. "TEACHING OF INDIAN DRAMA THROUGH INNOVATIVE ACTIVITIES IN A CLASSROOM OF FOREIGN STUDENTS: THE NATURE OF TEACHER/PARTICIPANT." In ADVED 2020- 6th International Conference on Advances in Education. International Organization Center of Academic Research, 2020. http://dx.doi.org/10.47696/adved.202072.

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Wang, J. S., Nan-Cyi Wu, Tings Wang, J. Hsieh, J. Chen, H. K. Hsu, D. Chen, and T. Fong. "Characterization of indium and nitrogen co-implant of NMOSFET for advanced DRAM technologies with dual-gate oxide." In 2004 IEEE International Conference on Semiconductor Electronics. IEEE, 2004. http://dx.doi.org/10.1109/smelec.2004.1620835.

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