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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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Nascimento, Rita Gomes do. "Rituais de resist?ncia: experi?ncias pedag?gicas tapeba." Universidade Federal do Rio Grande do Norte, 2009. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14241.
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Previous issue date: 2009-10-19Funda??o Cearense de Apoio ao Desenvolvimento Cientifico e Tecnol?gico
The work aims to investigate some of the educational actions developed in the differentiated Tapeba schools (CE), in their pedagogical practices. The reading of these practices as ritual of ethnic cultural resistance is accomplished by the approach of studies of experience and performance in the anthropology, as well as, the analytical perspective suggested by the dramaturgy ideas and social drama. So, taking a critical approach of the school, that conceives it, while time space privileged of possibilities of political social change, this work searches to notice the means of achievement of a differentiated education. I aim at, with that, to observe the ritual moments and perform?ticos of the pedagogic practices of Tapeba while important political-symbolic expressions of your collective experiences, looking at the process of construction of legitimacy of the school differentiated as scenery of creation of pedagogic rituals of resistance. Then, the Cultural Fair, Tapeba Indian Games, the Walking of Tapeba Indian`s Day and Carnauba Party by one side and the Cultural Classes, by another, promote a re-thinking on the experiences of Tapeba ethnicity, distinguishing also, in this process of identity affirmation, the political pedagogical role fulfilled by land re-taking. Finally, this work makes clear that Tapeba prove to be individuals with rights and at the same time they want to legitimate their differentiated school practices, Tapeba construct the meaning of their social actions in the educative and in other aspects of their communitarian living as well
O trabalho tem como unidade de investiga??o algumas das a??es educativas desenvolvidas nas escolas diferenciadas Tapeba (CE), observando as manipula??es t?ticas e estrat?gicas do tema do preconceito em suas pr?ticas pedag?gicas. A leitura dessas pr?ticas como rituais de resist?ncia ?tnico-cultural ? realizada por meio de uma aproxima??o com os estudos da antropologia da experi?ncia e da performance, bem como da perspectiva anal?tica sugerida pelas id?ias de dramaturgia e drama social. Partindo de uma abordagem cr?tica da escola, que a concebe enquanto tempo-espa?o privilegiado de possibilidades de mudan?a s?cio-pol?tica, busco observar os modos de realiza??o de uma educa??o diferenciada. Objetivo, com isso, observar os momentos rituais e perform?ticos das pr?ticas pedag?gicas dos Tapeba enquanto importantes express?es pol?tico-simb?licas de suas experi?ncias coletivas, atentando para o processo de constru??o de legitimidade da escola diferenciada como cen?rio de cria??o de rituais pedag?gicos de resist?ncia. Assim, a Feira Cultural, os Jogos Ind?genas Tapeba, a Caminhada do Dia do ?ndio Tapeba e a Festa da Carna?ba, por um lado, e as Aulas Culturais, por outro, promovem um repensar das experi?ncias de etnicidade tapeba, destacando-se tamb?m, nesse processo de afirma??o identit?ria, o papel pedag?gico-pol?tico desempenhado pelas retomadas de terra. Por fim, procuro evidenciar que, afirmando-se como sujeitos de direito, ao mesmo tempo em que buscam legitimar as suas pr?ticas escolares diferenciadas, os Tapeba constroem o significado de suas a??es sociais tanto no educativo quanto em outros aspectos de suas viv?ncias comunit?rias
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Manossa, Geraldine, and University of Lethbridge Faculty of Arts and Science. "The roots of Cree drama." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2002, 2002. http://hdl.handle.net/10133/227.
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This study examines the foundation of contemporary Cree performance, tracing its existence to traditional Cree narratives. Contained within traditional Cree stories is the trickster, Wasakaychak. These oral stories are shared collectively, providing the community with relevant cultural knowledge. The thesis concludes that contemporary Cree playwrights and performers such as Shirley Cheechoo and Margo Kane maintain the roles of traditional storytellers because their work informs its audience about the history of the land and also comments on the state of the community. This study further demonstrates how the mythological character, Wasakaychak, remains an active part of Cree society by examining his significance within Tomson Highway's plays, The Rez Sisters and Dry Lips Oughta Move to kapuskasing.v, 107 leaves ; 28 cm.
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Däwes, Birgit. "Native North American theater in a global age sites of identity construction and transdifference." Heidelberg Winter, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2945427&prov=M&dok_var=1&dok_ext=htm.
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Fodor, Melinda. "Contribution à l’étude du genre dramatique des saṭṭaka, pièces en langue prakrite : la Karpūramañjarī et ses successeurs." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP053/document.
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Cette thèse est la première étude approfondie et transversale sur le sattaka, un genre dramatique indien dont la particularité réside dans sa langue, le prâkrit. Le nom de ce genre remonte à Kohala (IIe-IVe siècles), mais est devenu connu grâce à la Karpuramanjari de Rajashekhara (IXe-Xe siècles, Kannauj) qui cite, pour la première fois, dans le prologue de cette pièce, sa définition. Selon celle-ci, il s’agit d’un genre apparenté à la natika, genre hybride du théâtre classique. Le prâkrit - terme générique de divers dialectes - s’est développé parallèlement au sanskrit, en tant que langue littéraire. Ses variétés régionales ont été attribuées aux divers personnages dans le théâtre classique pour indiquer leur statut social. Rajashekhara, rompant avec les règles plurilinguistiques du théâtre classique appliquées, entre autres, à la natika, a conçu son sattaka entièrement en prâkrit, en accord avec les règles sur les qualités phonétiques des langues littéraires dans l’art poétique indien. Son choix de langue a fait l’objet de nombreuses spéculations parmi les théoriciens et sa Karpuramanjari est devenue le standard pour les auteurs des sattaka tardifs. Dans cette thèse, après avoir retracé l’évolution de ce genre, nous analysons non seulement les diverses théories attestées au sujet de la langue et de la structure dramatique de la Karpuramanjari, mais également les pièces, afin d’élucider la question suivante : qu’est-ce que le sattaka ? Ce travail vise également à promouvoir les recherches connexes sur l’évolution de l’art dramatique durant le Moyen Âge, sur les auteurs, ainsi que leurs époques. Cette étude comporte de nombreuses citations des sattaka, dont nous donnons la première traduction française et, pour certains, la toute première traductionThis thesis is the first in-depth and comprehensive study on Sattaka, an Indian dramatic genre whose characteristic lies in its language, the Prakrit. The name of this genre goes back to Kohala (2nd to 4th centuries), but it has become known by Rajashekhara’s Karpuramanjari (9th-10th centuries, Kannauj) who gives, for the first time, in the prologue of this play, its definition. According to this, it is a genre related to the Natika, a hybrid genre of classical theater. Prakrit - the generic term for various dialects – has developed in parallel with Sanskrit as a literary language. Its regional varieties have been attributed to various characters in classical theatre in order to indicate their social status. Rajashekhara, breaking with the multilingual rules of classical theater applied, inter alia, to the Natika, composed his Sattaka entirely in Prakrit, in accordance with the rules on phonetic qualities of literary languages in Indian poetics. His choice of language has been the matter of discussion among theoricians and his Karpuramanjari has become the standard for the later authors of Sattakas. In this thesis, after having traced the evolution of this genre, we analyze not only the various theories about the language and the dramatic structure of the Karpuramanjari, but also the plays themselves, in order to elucidate the following question: what is a Sattaka? This work also aims to promote related research works on the evolution of dramatic art during the Middle Ages, on the authors, as well as on their times. This study contains numerous citations of Sattakas, of which we give the first French translation and, for some of them, the very first one
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Sensarma, Suman Ranjan. "Modeling and Analysis of the Process of Resolving Regional Conflicts under Disaster and Development Risks: Case Studies from Japan and India." 京都大学 (Kyoto University), 2007. http://hdl.handle.net/2433/49137.
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学位授与大学：京都大学 ; 取得学位: 博士(工学) ; 学位授与年月日: 2007-09-25 ; 学位の種類: 新制・課程博士 ; 学位記番号: 工博第2847号 ; 請求記号: 新制/工/1419 ; 整理番号: 25532Kyoto University (京都大学)
0048
新制・課程博士
博士(工学)
甲第13376号
工博第2847号
新制||工||1419(附属図書館)
25532
UT51-2007-Q777
京都大学大学院工学研究科都市社会工学専攻
(主査)教授 岡田 憲夫, 教授 小林 潔司, 教授 多々納 裕一
学位規則第4条第1項該当
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Olson, Diann Marie. "Los personajes indigenas en obras teatrales de la Revolucion mexicana." Laramie, Wyo. : University of Wyoming, 2008. http://proquest.umi.com/pqdweb?did=1594496731&sid=3&Fmt=2&clientId=18949&RQT=309&VName=PQD.
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Korpan, Cynthia Joanne. "Authentic culture: the Inkameep plays as Canadian Indian folk drama." Thesis, 2009. http://hdl.handle.net/1828/1756.
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During the early decades of the 20th century, a public and governmental concentration on authentic Canadian culture included the languages and cultural practices of Indigenous peoples. The position of Indigenous peoples as ‘original’ to the land was conflated as evidence that their cultures were authentic, and as such, uniquely ‘Canadian’. During the late 1930s and early 1940s, a small group of children from the Osoyoos Indian Band along with their Irish immigrant teacher produced a series of short dramatic plays based on traditional Okanagan stories. This thesis examines how the production, circulation, and consumption of these Okanagan-based plays by children came to be seen as a manifestation of early Canadian drama that was arguably a part of the foundation of an emerging national identity.
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Švábová, Šárka. "Násilí v moderním indickém dramatu." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-298747.
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Diploma thesis analyses selected theatrical plays of distinguished modern Indian dramatists (Vijay Tendulkar, Girish Karnad and Badal Sircar among others) in light of the unifying motive of violence. It compares different literary approaches towards the issue under discussion and observes transformation of this theme within various dramatic genres / social, historical, existential - absurd, political and mythological.
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Naicker, Lee-Anne. "Aspects of South African Indian and coloured identity as reflected in four selected post-apartheid plays." 2014. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1001290.
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M. Tech. DramaThe purpose of this study was to develop a broader understanding of aspects of identity relating to Coloured and Indian people in South Africa and the portrayal of these aspects on the post-Apartheid stage. The meaning of the term 'identity' and its relation to drama and theatre was investigated. Identity markers (individual and social) were identified to serve as a framework for the play analyses. Research was also conducted on both Coloured and Indian identities, seen against a historical background, as well as the theatrical and dramatic history of the two groups.
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Panday, Shobhana Devi. "A critical appraisal of Kalidasa's Abhijnanasakuntalam in the light of the rasa theory." Thesis, 1996. http://hdl.handle.net/10413/8678.
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"The multicultural traveller : representations of Indian female identity in Gurinder Chadha's Bend it like Beckham and Bride and prejudice." Thesis, 2009. http://hdl.handle.net/10413/505.
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This paper explores the construction of multicultural identities in the postcolonial world in relation to nonresident Indian women depicted in mainstream cinema. The dissertation traces the distorted representation of Indian women from its colonial and diasporic origins to its contemporary neo-colonial evolution. The analysis of two films, directed by Gurinder Chadha, Bend It Like Beckham (2002) and Bride and Prejudice (2004), speaks back to Indian women‟s agency and ownership of multicultural identities. These film texts were chosen as they are both contemporary examples of Indian class, gender and culture in relation to the postmodern concept of multicultural societies. The films are products of formerly colonised people commenting on issues of class, gender and power as seen in Indian diasporic communities in England and the USA.Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.
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Kalvaitis, Jennifer M. "Indianapolis women working for the right to vote : the forgotten drama of 1917." Thesis, 2013. http://hdl.handle.net/1805/3747.
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Indiana University-Purdue University Indianapolis (IUPUI)In the fall of 1917, between 30,000 and 40,000 Indianapolis women registered to vote. The passage of the Maston-McKinley partial suffrage bill earlier that year gave women a significantly amplified voice in the public realm. This victory was achieved by a conservative group of Hoosier suffragists and reformers. However, the women lost their right to vote in the fall of 1917 due to two Indiana Supreme Court rulings.
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Culp, Amanda Louise. "Searching for Shakuntala: Sanskrit drama and theatrical modernity in Europe and India, 1789-Present." Thesis, 2018. https://doi.org/10.7916/D83N3KPN.
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Since the end of the eighteenth century, the Sanskrit drama known as Shakuntala (Abhijñānaśakuntala) by Kalidasa has held a place of prominence as a classic of world literature. First translated into English by Sir William Jones in 1789, in the intervening centuries Shakuntala has been extolled and memorialized by the likes of Johann Wolfgang von Goethe, Friedrich and August Wilhelm Schlegel, Theophile Gautier, and Rabindranath Tagore. Though often included in anthologies of world literature, however, the history of the play in performance during this same period of time has gone both undocumented and unstudied. In an endeavor to fill this significant void in scholarship, “Searching for Shakuntala” is the first comprehensive study of the performance history of Kalidasa’s Abhijñānaśakuntala in Europe and India. It argues that Shakuntala has been a critical interlocutor for the emergence of modern theater practice, having been regularly featured on both European and Indian stages throughout the nineteenth and twentieth centuries. Moreover, it asserts that to appreciate the contributions that the play has made to modern theater history requires thinking through and against the biases and expectations of cultural authenticity that have burdened the play in both performance and reception. Perceived as a portrait of a particular moment in ancient Indian history, Shakuntala has long been encumbered by the obligation to portray either the authentic Other for an eager and curious foreign audience or the authentic Self for a native Indian audience reclaiming a national heritage. Such expectations, this project contends, overlook the play’s long history in between the diametric poles of East and West, obscuring the far more complicated, and more interesting facets of its lives onstage.
As a performance history, “Searching for Shakuntala” endeavors to reconstruct historical productions by assembling reviews, photographs, programs, set drawings, costume materials, video recordings (when available), and other theatrical ephemera. Rather than beginning from the point of view of the text, each chapter is framed around a central production and asks how the cultural, historical, artistic, and political forces of the period in question can be discerned in this particular manifestation of Kalidasa’s play. Chapter 1 begins with William Poel and the Elizabethan Stage Society’s original practice Shakuntala from fin-de-siècle London; Chapter 2 heads across the channel to Paris and the symbolist Théâtre de L’Œuvre of Lugné-Poe and his experimentation with Sanskrit drama; Chapter 3 considers the representation of Shakuntala by a group known as the Brahmana Sabha at India’s First National Drama Festival in 1954; and Chapter 4 begins with an adaptation called Chhaya Shakuntala, or Shades of Shakuntala, as a way into thinking through the play on contemporary Indian stages. Taken together, the productions discussed in this dissertation make clear that the history of Shakuntala in performance is more than just documentation of the occasional production of an obscure work of ancient dramatic literature. It is also a study in the hegemony of intercultural exchange, the interplay between theatrical performance and identity formation, and the interwoven formal theatrical experimentation that took place through the performance of an Indian text during a period of theater history traditionally dominated by the West.
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Koželsky, Kristin L. Pohl Mary. "Identifying social drama in the Maya Region fauna from the Lagartero Basurero, Chiapas, Mexico /." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04112005-175716.
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Thesis (M.A.)--Florida State University, 2005.Advisor: Dr. Mary Pohl, Florida State University, College of Arts and Sciences, Dept. of Anthropology. Title and description from dissertation home page (viewed June 22, 2005). Document formatted into pages; contains x, 154 pages. Includes bibliographical references.
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Grady, Sharon Ann. "Cross-cultural translation considerations for the use of creative drama as an educational tool in Kerala, South India /." 1990. http://catalog.hathitrust.org/api/volumes/oclc/23057334.html.
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Thesis (M.S.)--University of Wisconsin--Madison, 1990.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves:127-134).
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Gusul, Matthew Joseph. "Intergenerational theatre in India: a reflective practitioner case study on an intercultural theatre exchange between Canada and rural Tamil Nadu." Thesis, 2016. http://hdl.handle.net/1828/7395.
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In 2004, a Tsunami had devastating effects on the province of Tamil Nadu, India. In the community’s re-building process, many elders were forced to live in areas of the coastal region referred to as “Grannie Dumps,” because their homes were destroyed. With the monetary help of HelpAge International and the guidance of Michael Etherton, these elders are now part of an active, healthy community named Tamaraikulam Elders Village (TEV) that wants to tell its story.
In March 2008, Michael Etherton attended a Workshop/Performance of GeriActors & Friends (G&F), an intergenerational theatre company from Edmonton, AB. I was G&F’s Assistant Director. After this, Etherton connected me with HelpAge India and TEV, realizing that the methods used with G&F would benefit TEV. Starting in January 2013 and completing in June 2015, under my direction, the University of Victoria’s Theatre Department assisted TEV in creating intergenerational theatre performance with various young people’s charity groups throughout the Tamil Nadu and Pondicherry region.
The dissertation is structured as a reflective practitioner case study and is split into two sections. The first section of my work will communicate to the reader the events of the case study in India. The latter half of this work will be a collection of exegesis chapters reflecting upon the salient issues for the field of applied theatre research and practice which my research project brings up and how my reflections will affect my future practice while providing suggestions for how they could impact the entire field of applied theatre.Graduate
gus@uvic.ca
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OTTOBONI, LUCREZIA MARGHERITA VALENTINA. "Memoria, trasmissione e trasgressione nella danza Oḍissī contemporanea. Una ricerca sul campo tra biblioteche, scuole e palcoscenici." Doctoral thesis, 2018. http://hdl.handle.net/11573/1103534.
Full textAbstract:
The dance style called Oḍissī today is the result of the Indian cultural revival of the twentieth century, during which teachers, talented dancers, scholars and researchers dedicated themselves to the discover and the study of manuscripts and in general literary, poetic, pictorial treatises, regional temples and iconography. Following the cosmological triad of sṛṣṭi, sthiti and pralaya, this work identifies three stages of Oḍissī dance: creation, transmission and transgression. This fieldwork in Orissa is deeply rooted in the Indian traditional context of the classical dance learning, the guruśiṣyaparamparā by which devoted students live together with their gurus as in a family for many years, learning the art of dance in all its numerous repertoire roles. The research focuses on the creative and productive process of the Indian classical Oḍissī dance’s contemporary choreographies, specifically the connection between hindū Goddesses worshipped in Orissa and contemporary Oḍissī dance, viewed most through the lens of the dancer. Furthermore, a special attention is given to the modern dance treatises never translated into English, three of which have been reported in the appendix with a translation from the original Oṛiyā language.