Journal articles: 'Indian drama'

1

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Savory, Elaine. "Derek Walcott and West Indian Drama (review)." Research in African Literatures 31, no. 1 (2000): 202–5. http://dx.doi.org/10.1353/ral.2000.0034.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

Amitabh Kumar and Dr. Vivek Kumar Dwivedi. "From Proscenium to Public: Explorations of Body and Space in Sircar’s Third Theatre." Creative Launcher 8, no. 2 (April 30, 2023): 59–64. http://dx.doi.org/10.53032/tcl.2023.8.2.08.

Full text

Abstract:

The name of Badal Sircar, the Bengali playwright, actor and theatre activist, holds a very prestigious position in the history of modern Indian theatre. Both in the field of the Indian mainstream proscenium theatre and in that of the Alternative/Street theatre, he has made significant contribution to the Indian drama. In the post-independence period, when Indian theatre world was caught in the debate of “modern” and “Indian”, he established a brand-new genre of theatre called “Third Theatre”. Third Theatre provided a potent resolution to the inherent dichotomy in modern Indian drama by skillfully reconciling indigenous theatrical tools and techniques with the Western proscenium tradition of a text-based, plot-driven idea of theatre. Sircar’s style is thus a hybrid of folk theatre and proscenium theatre. This was a creative attempt to create an alternate media to effectively spread the playwright's views among the populace. With all these innovative ideas, philosophies and techniques, Sircar’s primary purpose was to bridge the gap between the drama and the audience, between the rural and the urban, between the form and the content etc., and to attain to the ideals of liveness and direct communication in theatrical experience. This effort aids him in breaking sharply with the modern Bengali theatre, which is fixated on the manner of presentation used in the English Victorian drama, and elevating it to a hitherto unattainable level of artistry. The present paper seeks to explore how Badal Sircar experimented with the body of the actor and with the performance space in order to create a syncretic form of theatre accessible equally to the rural and urban.

APA, Harvard, Vancouver, ISO, and other styles

13

T. Eswar Rao. "Prejudicial Treatment in Asif Currimbhoy's Goa." Creative Saplings 1, no. 10 (January 25, 2023): 58–68. http://dx.doi.org/10.56062/gtrs.2023.1.10.195.

Full text

Abstract:

Inequalities are ubiquitous throughout the world and have been a defining aspect of society since prehistoric times. They typically get smaller as civilization develops, but they still exist. They have to do with the unfair distribution of certain highly valued characteristics, such as earnings, wealth, standing, expertise, and power among various units, including people, dwellings, social classes, religious congregations, organizations, castes, regions, and nations. An analysis of disparities' primary objective is to identify the factors that influence how the writer is distributed among relevant units and to explain their causes and effects. An Indian writer who writes in English, Asif Currimbhoy, was familiar with experimental American theatre. He wrote plays with modern themes. He addressed issues of race, class, and gender. Post-colonialism is made up of these three components. His dramas thus draw their themes from the currents of modern politics and existence. He has been referred to as a karma yogi and India's first theatre attention voice. For him, the 1965 drama "Goa," which had its world premiere at Michigan State University, is very special. The Indian invasions of Goa in December 1961 are the subject of the drama.

APA, Harvard, Vancouver, ISO, and other styles

14

Afriadi, Deni. "TEATER BANGSAWAN MUDA, FORMULA PERTUNJUKAN DRAMA MELAYU BANGSAWAN MASA KINI." Jurnal Ilmu Budaya 15, no. 2 (March 2, 2019): 115–26. http://dx.doi.org/10.31849/jib.v15i2.2329.

Full text

Abstract:

Malay “Bangsawan” drama is believed to the embryo of the development of theatre in Riau province. From its history, Bangsawan drama owed to Indian traders who brought wayang Parsi to Malay Peninsula (Malaysia, Sumatera, and to Temasik (Singapore)). Malay “Bangsawan” drama nowdays undergoes changes. The “Bangsawan” drama changes the existed convention which differentities it from the “old Bangsawan” is then called the “new Bangsawan”. This change is beneficial for the continuity of “Malay Bangsawan” drama because a good performance should be able to adapt with the social condition. This writing views how the changes in form and structure occur in Malay “Bangsawan” drama. The changes lead to the term “New (young) Bangsawan Theatre”. Keywords: Malay Bangsawan Drama, New (young) Bangsawan Theatre.

APA, Harvard, Vancouver, ISO, and other styles

15

Telang, Meghana, and Meredith Starkman. "Sukoon: Drama and Discovery in an Indian Jail." Teaching Artist Journal 15, no. 3-4 (October 2, 2017): 174–78. http://dx.doi.org/10.1080/15411796.2017.1386504.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (November 1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

Full text

Abstract:

Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporary problems of its society. The interviewer, Aparna Dharwadker, is Assistant Professor of Drama and Eighteenth-Century British Studies at the University of Oklahoma. Her essays and articles have appeared or are forthcoming in PMLA, Modern Drama, and The Sourcebook of Post-Colonial English Literatures and Cultural Theory (Greenwood, 1995). She has also published collaborative translations of modern Hindi poetry in major anthologies, including The Oxford Anthology of Modern Indian Poetry (1994), and is currently completing a book-length study of the politics of comic and historical forms in late seventeenth-century drama.

APA, Harvard, Vancouver, ISO, and other styles

17

Sohaib Alam, Mohammad Rezaul Karim, and Farhan Ahmad. "Process Drama as a Method of Pedagogy in ESL Classrooms: Articulating the Inarticulate." Journal of Education Culture and Society 11, no. 1 (June 27, 2020): 255–72. http://dx.doi.org/10.15503/jecs2020.1.255.272.

Full text

Abstract:

Aim. The present study intends to explore how process drama can be effectively used and implemented in Indian classrooms. It further highlights the aspects of the conventional classrooms and discusses why Indian students are lacking in productive skills of the English language and how it can be diagnosed through using the theory and practice of process drama as an instructional method. Concepts/Methods. Data collection method through a questionnaire has been used in the study and SPSS version 20 is implemented to observe, analyze, and comprehend the data. Reliability and validity have been checked through a pilot study before using the questionnaire and the suggestions of an expert and responded were incorporated. Research Restrictions. The present study is limited to the Indian classrooms and especially the respondents were purposively chosen from undergraduate classrooms of different faculties. So it cannot be implemented thoroughly but the praxis of using process drama can be a potent strategy to teach English in ESL classrooms according to the level, background and nature of the learners. Practical Application. The findings of the study clearly indicate that the use of process drama in classroom pedagogy has a positive impact on receptive and productive skills of language. Cognitive value. The modern classroom pedagogy needs an approach of teaching which can foster the learning process easier and emphasize all four skills in an effective way.

APA, Harvard, Vancouver, ISO, and other styles

18

Narayan, Vivek V. "Mala Renganathan and Arnab Bhattacharya, eds. Rabindranath Tagore’s Drama in the Perspective of Indian Theatre." Modern Drama 64, no. 3 (August 1, 2021): 385–87. http://dx.doi.org/10.3138/md.64.3.br6.

Full text

Abstract:

Rabindranath Tagore’s Drama in the Perspective of Indian Theatre successfully draws on Bangla and English sources to bring critical attention to focus on Tagore’s theatrical legacy. While it suffers from a reductive view of India and a single-minded focus on canonicity, it explores novel theoretical approaches to the performance politics of Tagore’s drama.

APA, Harvard, Vancouver, ISO, and other styles

19

Mahant, Pratik Kumar, Sohaib Alam, Sanjukta Ghosh, and Ismat Jabeen. "Shifting Learning Atmosphere through Process Drama: Teaching English Parts-of-Speech (PoS) in Indian Classroom." World Journal of English Language 13, no. 8 (September 30, 2023): 288. http://dx.doi.org/10.5430/wjel.v13n8p288.

Full text

Abstract:

This paper investigates the effectiveness of process drama in teaching English parts-of-speech to middle school students in an eastern Indian school. For the application part, researchers developed process drama-based lesson plans following the structural approach and implemented them among the students of class VII studying English as a second language (L2). The study employed a quasi-experimental design, with a pretest-posttest approach to data collection. Additionally, the facilitator consistently took observational field notes to understand the utility and limitations of process drama in a second-language classroom. The study's major findings indicate a significant growth in the treatment group and showed seminal benefits over the traditional method of teaching parts-of-speech through the structural approach. Moreover, observation and field notes indicated the welcoming attitude of learners towards process drama-based language pedagogy. Also, observation and field notes showed assistance in understanding the utility and limitations of process drama as a pedagogical tool in an L2 classroom. Thus, findings of this study have implications for language educators, curriculum designers, and policymakers, offering valuable insights and practical recommendations for integrating process drama in L2 teaching methodologies in diverse educational settings. Additionally, this research contributes to the ongoing discourse on innovative language teaching techniques, catering to the needs of the diverse student populations in language classroom.

APA, Harvard, Vancouver, ISO, and other styles

20

Saxena, Rochak, and Mukshita Dhrangadharia. "Hindi Cinema and Society: A study on the perception of Indian youth." Journal of Communication and Management 2, no. 01 (March 18, 2023): 67–71. http://dx.doi.org/10.58966/jcm20232111.

Full text

Abstract:

For Indians, Cinema has remained integral since its inception in society. Films have evolved from black- and-white to color; from several reels to a single showreel; from no animations to varied forms and techniques; and from single-screen theatres to multiplexes/multiple screens too. The researchers have chosen the social drama genre from the spectrum of diverse genres to study. The researchers are curious to know the perception of youth towards the mentioned genre, especially those who belong to the age group of 18 to 23 years. This research aims to study whether or not movies belonging to the social drama genre make the desired impact on society against social evils. With the ever-increasing number of social issues in the country, even during the present pandemic situation, this study holds significance in trying to know if one of the empowering tools of the Indian society for generating awareness is empowering or forbidding. The present study is conducted by keeping “Bollywood” (Hindi cinema) in the nucleus because of the researchers’ zealous fondness towards Hindi movies. Because of the unprecedented times of the Covid-19 pandemic, the data for the research have been collected using Google forms and combined with the data of 200 respondents, majorly from, but not limited to, the Western part of India. The study findings interestingly unveil that the majority of the youth believe the social issues are majorly seen in the middle economic class of Indian society. The majority also does not agree or is neutral with the statement that the social drama Hindi films could bring the desired change in society.

APA, Harvard, Vancouver, ISO, and other styles

21

Gere, Anne Ruggles. "Indian Heart/White Man's Head: Native-American Teachers in Indian Schools, 1880–1930." History of Education Quarterly 45, no. 1 (2005): 38–65. http://dx.doi.org/10.1111/j.1748-5959.2005.tb00026.x.

Full text

Abstract:

Two teachers at Haskell who had a profound impact on my life were Ella Deloria and Ruth Muskrat Bronson. They stood apart from the others as far as I'm concerned. Ella Deloria was Standing Rock Sioux and a graduate of Columbia…. She taught girls' physical education and drama. Ruth Muskrat Bronson was Cherokee and a graduate of Mount Holyoke. She taught English. They both had such a wonderful sense of humor. They taught non-Indian subject matter but had a very strong respect for Indian culture, and they were clever enough to integrate it into the curriculum. They taught their students to have a healthy respect for themselves as individuals and a pride in their heritage. They taught us about Indian values and kept them alive in us. They respected and encouraged us to voice our opinions in and out of the classroom, and they had the ability to draw out our creativity. When Ruth would tell us to have pride in who we were, she'd say, “Indians are people too. Don't forget that.”

APA, Harvard, Vancouver, ISO, and other styles

22

Macmillan, Catherine. "Orientalising the Occident? Portrayals of the Welsh in ‘The Indian Doctor’." Romanian Journal of English Studies 10, no. 1 (March 1, 2013): 27–34. http://dx.doi.org/10.2478/rjes-2013-0003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

Khan, Shahab Yar. "Shakespeare i Orijent / Shakespeare and the Orient." Context: Journal of Interdisciplinary Studies 3, no. 2 (March 21, 2022): 77–83. http://dx.doi.org/10.55425/23036966.2016.3.2.77.

Full text

Abstract:

The history of drama in Asia is as old as the history of the world itself. In India however, according to the popular belief, the tradition of drama dates back to the prehistoric times. Due to this unique approach towards drama, that makes it a valuable divine gift for humanity, the esoteric significance of this art form has never seen decline in the cultural history of India. Drama, thus, acquires in Indian context a religious significance and represents as an art form the union of the celestial and the terrestrial. Drama (in Sanskrit Natak), in the Indian Subcontinent, has distinctive characteristic features. Essentially, as reflection of human existence, it is a combination of all the known art forms and, therefore, becomes the deepest expression of the human soul. The rise of Islamic culture and civilization in the twelfth and thirteenth centuries contributed to the amalgamation of the two great civilizations. The impact of the Muslim culture in transforming the classical features of Indian music, architecture, science, literature, etc. can by no means be undermined. By the end of the sixteenth century, the century of liberal humanism and coincidently the era of the rise of the Mughal Empire, the theatrical art had gained enormous significance in India. There is enough evidence to believe that Shakespeare’s plays were first performed in India during the reign of the Mughals (1526-1857). Later, the newly emerging colonial power, the English, in its first stronghold in India, Calcutta, established alongside other bureaucratic, political and educational institutions, the Garrison Theater. The earliest performances at this theater date back to 1770s and the first ever documented English play on the Indian soil happens to be Shakespeare’s Othello. Shakespeare’s unique dramatic structure smoothly found its place of prominence in the cultural life of India, offering new dimensions to the already existing rich local tradition and at the same time enriching its own dramatic expression. Today, all the major educational institutions of the Subcontinent cherish the tradition of mounting on stage the annual performances of Shakespeare’s plays and the cinematographic tradition has incorporated his works into its popular tradition from the very beginning of the history of the film industry in India.

APA, Harvard, Vancouver, ISO, and other styles

24

Lidova, Natalia R. "Genre Typology of Drama in European and Sanskrit Literature." Studia Litterarum 9, no. 1 (2024): 10–29. http://dx.doi.org/10.22455/2500-4247-2024-9-1-10-29.

Full text

Abstract:

The article examines the notion of drama as a genre category in European and ancient Indian theatrical theory. The analysis of ancient texts, foremost the treatise of the Nāṭyaśāstra, which can be considered the most authoritative primary source for the study of classical Indian poetics, forms the basis of the research. This paper identifies Sanskrit analogues of such fundamental concepts of Western literary theory as “drama,” “genre,” “performance,” “scenicism,” “literariness,” etc. The closest analogical to European definitions of drama and genre Sanskrit notions are investigated in depth. They are primarely nāṭya and prayoga — two terms used to define various performative aspects of the play. Another notion studied in the paper is rūpa, which originally stood for “scenario” and, later on, for textual and literary format of the staged play. Due to its universality, the same term functioned as the general definition of ten “exemplary” spectacular forms. Finally, the category of vṛtti is discussed, employed in the Nāṭyaśāstra for the characterization of stylistic features of early mysterial performances and, later on, of classical Sanskrit plays. The scope of the paper does not limit itself to bringing to light and discussing these various notions. The ultimate goal is to highlight the differences between Eastern and Western poetological systems and to point out fundamental issues arising from the non-critical use of European terminology when interpreting and investigating ancient Indian aesthetics.

APA, Harvard, Vancouver, ISO, and other styles

25

Babu, J. Madhu, and K. M. M. Krishna. "A Survey Analysis on TV Viewers: Unethical Issues in Telugu Drama Serials." IRA-International Journal of Management & Social Sciences (ISSN 2455-2267) 16, no. 3 (July 24, 2020): 68. http://dx.doi.org/10.21013/jmss.v16.n3.p1.

Full text

Abstract:

Television in India has proven a most influential infotainment media powerful and popular among its audience. Television plays a vital role in the telecast entertaining program. Fiction has been a popular genre on Indian Television. A common habit among most of the Indian families is watching drama serials in the evening as one of the best time-pass activities i.e. why serials have become part and parcel of most of its viewer's lives. TV drama serials have become one of the most popular offerings. It affects people irrespective of gender, age, and other demographic variables. The study was conducted to throw light towards various Television viewing habits among the Telugu audience. A sample of 316 respondents from Amravati the new capital of the newly formed state of Andhra Pradesh was selected for survey analysis. Structured questioners were distributed to them and the responses were collected. A Chi-square test is used to analyze the collected data. The study also highlighted the opinions of viewers on Telugu drama serials. Focused group discussions have been conducted.

APA, Harvard, Vancouver, ISO, and other styles

26

Barman, Tapas Kumar. "A Critical Study on Women's Language in Indian English Drama." International Journal of English Learning & Teaching Skills 5, no. 4 (July 3, 2023): 3424–30. http://dx.doi.org/10.15864/ijelts.5401.

Full text

Abstract:

The function of language is associated with the verbal code. It becomes important when the verbal code itself becomes the central theme of a dialogue. Language has a key position in drama as it is, like in real life, the most important means of communication on stage. It has to be regarded as the one basic feature of drama that is related to both the dramatic characters and the action. Language in drama is represented as spoken language or, in other words, as speech. Dramatic utterances are poly functional: they can have several functions at the same time, both in the internal and the external communication system. The present paper aims to show women 's language used by both male and female playwrights and the essential rebellious spirit against the male chauvinism and talked of women's emancipation, individuality, and their socio -economic and political equality in present day society. Women performed in the earlier phase very happily to the script written by male playwrights. Though many male playwrights talked about women's issues, their presentation lacked the authentic ring of women's emotions and feelings.The women playwrights who are remembered for their remarkable contribution are Deena Mehta, Manjula Padmanabhan, Polie Sengupta whose texts have been discussed here. They have introduced new subjects affecting the feminine psyche using their language and technique.

APA, Harvard, Vancouver, ISO, and other styles

27

G. Yadagiri. "ISSUES OF GENDER BAISED, CASTE, HEREDITY, RELIGION AND SEX IN THE PLAYS OF GIRISH KARNAD: A CRITICAL ANALYSIS." Journal of English Language and Literature 10, no. 02 (2023): 61–64. http://dx.doi.org/10.54513/joell.2023.10206.

Full text

Abstract:

Girish Karnad was one of the most prominent and celebrated figures in Indian drama. He was an actor, playwright, and director, whose contribution to Indian theatre was immense. Karnad's plays were deeply rooted in Indian history and mythology, and dealt with issues such as identity, language, and cultural conflict. His works were widely performed and admired not only in India, but also internationally. Karnad's contribution to Indian drama can be seen in his numerous awards and accolades throughout his career, including the Padma Shri, Padma Bhushan, and Jnanpith Award, considered the highest literary honour in India. His plays, such as Yayati, Tughlaq, and Hayavadana, are regarded as modern classics of Indian theatre. Girish Karnad, the renowned Indian playwright, has addressed various social, cultural, and political issues in his works. While caste, heredity, religion, and sex are themes that occasionally appear in his plays, it is important to note that Karnad’s works are not limited to these topics. He explores a wide range of subjects and uses them as a means to reflect upon the complexities of Indian society and human nature. Here are some instances where these themes are present in Karnad’s plays. Karnad excelled in multiple fields, including theater, cinema, and literature. He was an accomplished playwright, having written numerous plays in Kannada, his native language, as well as in English. Some of his notable plays include Tughlaq, Hayavadana, and Nagamandala. He also acted in films and directed critically acclaimed movies like Vamsha Vriksha and Utsav.

APA, Harvard, Vancouver, ISO, and other styles

28

Hughes, Stephen Putnam. "Music in the Age of Mechanical Reproduction: Drama, Gramophone, and the Beginnings of Tamil Cinema." Journal of Asian Studies 66, no. 1 (February 2007): 3–34. http://dx.doi.org/10.1017/s0021911807000034.

Full text

Abstract:

During the first half of the twentieth century, new mass media practices radically altered traditional cultural forms and performance in a complex encounter that incited much debate, criticism, and celebration the world over. This essay examines how the new sound media of gramophone and sound cinema took up the live performance genres of Tamil drama. Professor Hughes argues that south Indian music recording companies and their products prefigured, mediated, and transcended the musical relationship between stage drama and Tamil cinema. The music recording industry not only transformed Tamil drama music into a commodity for mass circulation before the advent of talkies but also mediated the musical relationship between Tamil drama and cinema, helped to create film songs as a new and distinct popular music genre, and produced a new mass culture of film songs.

APA, Harvard, Vancouver, ISO, and other styles

29

Chakrabarti, Sukanya. "Indian Drama in English: The Beginnings ed. by Ananda Lal." Asian Theatre Journal 39, no. 2 (September 2022): 428–32. http://dx.doi.org/10.1353/atj.2022.0034.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Lewis, Molly B. "The Life-Giving Efficacy of Beauty and Desire in Stoppard's Drama." Journal of Modern Literature 46, no. 4 (June 2023): 98–114. http://dx.doi.org/10.2979/jml.2023.a908976.

Full text

Abstract:

Abstract: In Rosencrantz and Guildenstern Are Dead (1967), Arcadia (1993), and Indian Ink (1995), the playwright Tom Stoppard poses existential questions about the inevitability of both cosmic and individual disintegration and death. However, as characters from Arcadia and Indian Ink engage in romantic encounters and acts of aesthetic creation driven by desire, they interrupt the cyclical inevitability of death embodied in Rosencrantz and Guildenstern Are Dead , and they oppose entropic disintegration by instigating encounters with beauty and desire that lead to reconciliation over time. This generative impulse of love and desire parallels Elaine Scarry's assertion in On Beauty and Being Just that encounters with beauty and desire are fundamentally life-giving.

APA, Harvard, Vancouver, ISO, and other styles

31

Lewis, Molly B. "The Life-Giving Efficacy of Beauty and Desire in Stoppard's Drama." Journal of Modern Literature 46, no. 4 (June 2023): 98–114. http://dx.doi.org/10.2979/jmodelite.46.4.06.

Full text

Abstract:

Abstract: In Rosencrantz and Guildenstern Are Dead (1967), Arcadia (1993), and Indian Ink (1995), the playwright Tom Stoppard poses existential questions about the inevitability of both cosmic and individual disintegration and death. However, as characters from Arcadia and Indian Ink engage in romantic encounters and acts of aesthetic creation driven by desire, they interrupt the cyclical inevitability of death embodied in Rosencrantz and Guildenstern Are Dead , and they oppose entropic disintegration by instigating encounters with beauty and desire that lead to reconciliation over time. This generative impulse of love and desire parallels Elaine Scarry's assertion in On Beauty and Being Just that encounters with beauty and desire are fundamentally life-giving.

APA, Harvard, Vancouver, ISO, and other styles

32

Saraswat, Surbhi. "Urban Materiality and Social Change: Mapping the Urban Reality in Mahesh Dattani’s the Big Fat City." ECS Transactions 107, no. 1 (April 24, 2022): 13701–8. http://dx.doi.org/10.1149/10701.13701ecst.

Full text

Abstract:

Mahesh Dattani’s The Big Fat City (2014) is a representative work of contemporary Indian English Drama that explores the changing mindscape due to urban conditions. This paper is an attempt to evaluate the performance and performativity of the urban inhabitants and their consequential transformation. The paper explores the play at the cross-section of performance studies and urban theory to highlight the influence of ever evolving and fast paced life of city on its inmates with high aspirations, who gradually get stuck in the labyrinthine life with its compulsions. City as a social force works as an organic entity and presents an ambivalent vision of human relationship. Whenever characters fail in realising the pulse beat of time and the changing social system, they meet their predicament that ends in miseries and sufferings. Keywords: Urban Materiality, City Space, Performance Studies, Contemporary Indian English Drama, Mindscape

APA, Harvard, Vancouver, ISO, and other styles

33

Tiwari, Seema. "THE ORIGIN OF INDIAN PAINTINGS AND THE EMERGENCE OF MINIATURE SCHOOLS OF PAINTING IN INDIA." International Journal of Research -GRANTHAALAYAH 7, no. 11 (November 30, 2019): 146–49. http://dx.doi.org/10.29121/granthaalayah.v7.i11.2019.3725.

Full text

Abstract:

Indian traditional art has always been rich in its types, forms and tecniques. Apart from the sculptures, poetry, textile arts, pottery, drama, dance, music etc., paintings are also an inextricable form of Indian art. The origin Indian art can be traced to ore-historic settlements in the 3rd millennium BC. The Indian art has undergone inevitable changes as a result of the influences of cultures, traditions, religions, religious sentiments, climatic conditions, globalisation and multiple other factors. Thus, with the development of the Indian civilization over the years developed the numerous kinds of paintings, as a means of communication, entertainment and livelihood. Being an important form of artistic expression, these paintings depict the life and customs followed by the people of different time periods.

APA, Harvard, Vancouver, ISO, and other styles

34

Kačer, Tomáš. "The ‘stage Indian’ in early American theatre culture." Ostrava Journal of English Philology 13, no. 2 (February 2022): 5–15. http://dx.doi.org/10.15452/ojoep.2021.13.0007.

Full text

Abstract:

The article deals with the early development of the ‘stage Indian’ as a character in early American drama and theatre. It studies ‘stage Indian’ characters, which reflect historical theatrical conventions rather than being historically accurate representations. It explores early plays depicting Native Americans as the ‘exotic other’. It considers plays involving the myth of the noble savage on the one hand and some parodying of this myth on the other. Finally, it describes various performances involving Native American performers in the United States in the 1890s. These examples show the diversity of the ‘stage Indian’ as a literary and performative construct.

APA, Harvard, Vancouver, ISO, and other styles

35

Carr, Christopher, and Robert McCord. "Ohio Hopewell Depictions of Composite Creatures." Midcontinental Journal of Archaeology 40, no. 1 (January 1, 2015): 18–47. http://dx.doi.org/10.2307/26599908.

Full text

Abstract:

Abstract Archaeological contextual analyses of four artifacts that depicted composite creatures and that were recovered from the Turner earthwork in southwestern Ohio are integrated here with a biological identification of the creatures’ component animals and a survey of historic Woodland–Plains Indian knowledge about their roles in Woodland–Plains life (previously reported in this journal). Together, the three studies reveal that the creatures were likely employed in a ritual drama concerned with the welfare of recently deceased persons on their journey to an afterlife through underwater–underground realm(s), where they encountered the creatures. The location of the journey to an afterlife through Below realm(s) differs from that of nearly all historic Woodland–Plains Indians, who knew the journey to take place on the earth-disk or to occur by ascension. Implications of the ritual drama at Turner for some recent interpretive trends in Woodland archaeology are explored, including an overemphasis on “world renewal” as the primary motivation behind Ohio Hopewell ceremonialism, the scarce attention given to eschatological matters, and the misleading notion that all agentive behaviors, including mortuary rites, are political.

APA, Harvard, Vancouver, ISO, and other styles

36

Mrityunjoy Mondal. "Masking and Unmasking: A Study of Girish Karnad’s The Fire and the Rain." Creative Launcher 5, no. 5 (December 30, 2020): 145–53. http://dx.doi.org/10.53032/tcl.2020.5.5.19.

Full text

Abstract:

Girish Karnad was a versatile genius. He was a prolific Kannada writer, a brilliant playwright, a fantastic actor, a talented film director and a meritorious scholar. His long stay in Europe has confirmed him that the Western theatre has nothing to provide him. Therefore, in search of a new mode of expression, he has used ancient Indian myths and history to represent the contemporary issues. The Fire and the Rain is one of the most successful drama of Karnad. In this drama, Karnad has made a brilliant and innovative use of mask. In Indian dramatic culture, masks were used frequently to represent the dramatic characters. But in The Fire and the Rain, mask is both a stage-prop as well as an important tool for the dramatist, by which he has successfully been able to expose the brahminical society. In this paper I will focus on how Girish Karnad has used the mask to unmask the upper-caste Brahmins.

APA, Harvard, Vancouver, ISO, and other styles

37

Gouda, Mr Y. Srinivasa. "Typical Indian Parents’ Mentality Portrayed in the Drama “Do the Needful” by Mahesh Dattani." SMART MOVES JOURNAL IJELLH 9, no. 5 (May 28, 2021): 161–69. http://dx.doi.org/10.24113/ijellh.v9i5.11056.

Full text

Abstract:

Mahesh Dattani is a well-known playwright and a film director of India, whose themes mainly revolve around modern-day Indian issues. Although the main theme of the drama “Do the Needful” is not about the mindsets of the Indian parents, the researcher has found it interesting that the dialogues between parents of the Lata and Alpesh sound very much like the typical parents of many households. The qualities that the parents look for in a Son-in-law of a Daughter-in-law, the discussion between the mother and father weighing the pros and cons of the match, forcing the wedding on their children, talking high of the properties of the in-laws, all these factors are the stories of many households in India. This research paper is an attempt to bring out some of the typical characteristics of the mindset of the Indian parents with reference to the play. In the first part of the paper, the researcher introduces Mahesh Dattani as a playwright and introduces the general traits of the Indian parents. The researcher justifies that it is not to generalize but to reflect the attitude of the majority of Indian parents. In the second part of the play and the theme are explained. In the next part of the paper, various lines from the play that represent the theme are taken and explained amalgamated with the quotes of other researchers to justify the theme of the research paper. The last part of the research paper concludes with the critical appreciation of the play.

APA, Harvard, Vancouver, ISO, and other styles

38

Malik, Shaista, Samar Zakki, Dur-e-Afsha, and Wajid Riaz. "Politico-cultural appropriation of Native American in American Indian poetry and drama: Unflinchingly documents the halfway existence." Journal of Humanities, Social and Management Sciences (JHSMS) 2, no. 1 (September 22, 2021): 133–46. http://dx.doi.org/10.47264/idea.jhsms/2.1.12.

Full text

Abstract:

During the Twentieth century Native American literature evolved from anonymity into prominence by assuming a commitment to reflect the particular challenges that faced Native American people during last two centuries. Native American Literature illuminates about Native American lives, culture and how Indian values have changed from traditional tribal to mainstream ones that threatened tribal existence. The paper seeks to substantiate that this literature documents the horrible impact of brutal federal government on Indian’s lives through policies and programs designed to subject them to degrading and confining existence both on physical and mental levels. The paper also seeks to prove that the Indians in order to adapt themselves to the mainstream Euro-American ways lost their old ones along the way but could not adopt mainstream American lifestyle. At the turn of the Twenty First century, because of the coercive strategies for assimilation, American Indians residing on reservations could not become a part of mainstream America but the way back to traditionalism was also farther away and irreversible. The paper also strives to substantiate that Native American literature documents and provokes Indians to assert their tribal identity by retaining many of the tribal ways and values.

APA, Harvard, Vancouver, ISO, and other styles

39

Sanathanan, Snehal P., and Vinod Balakrishnan. "Before the political cartoonist, there was the Vidusaka." European Journal of Humour Research 9, no. 4 (December 30, 2021): 91–109. http://dx.doi.org/10.7592/ejhr2021.9.4.571.

Full text

Abstract:

Political cartooning was one among the many cultural products that colonial rule introduced in India. This British legacy has been used to produce narratives about the nature and history of Indian cartooning. However, these narratives have, invariably, overlooked the distinctly Indian cultural ethos as well as the Indian satirical tradition. The paper proposes an alternative model by positing that in the Indian satirical tradition, the Vidusaka – the comic figure in Sanskrit drama - has been an antecedent to the political cartoonist in terms of the social and political role as well as the nature and purpose of the humour. The paper also locates the principles of caricaturing in precolonial Indian visual arts, and presents the early vernacular cartoons as the point of convergence between the local satirical tradition and the western format of the political cartoon which laid the foundation for a modern yet specifically Indian sensibility

APA, Harvard, Vancouver, ISO, and other styles

40

Chang Ho Kim. "Shakespeare’s Drama in View of the Indian Aesthetic Theory of Rasa." Shakespeare Review 50, no. 4 (December 2014): 761–82. http://dx.doi.org/10.17009/shakes.2014.50.4.008.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Khan, Amir Hossain. "Relevance of Shakespearean poetry and drama to the present Indian scenario." International Journal of English Literature and Social Sciences 4, no. 5 (2019): 1587–90. http://dx.doi.org/10.22161/ijels.45.50.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

Sajnani, Nisha, and Maitri Gopalakrishna. "Rasa: Exploring the influence of Indian performance theory in drama therapy." Drama Therapy Review 3, no. 2 (October 1, 2017): 225–39. http://dx.doi.org/10.1386/dtr.3.2.225_1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

Sahni, Urvashi. "Finding “Self,” Finding “Home”: Drama in Education." Canadian Theatre Review 133 (March 2008): 76–85. http://dx.doi.org/10.3138/ctr.133.011.

Full text

Abstract:

In this article, I describe and discuss a drama project that I did with a group of grade-nine girls, all from very impoverished backgrounds in India. I discuss it in the context of the goals of teaching and learning as I have used them in my work. I also map the metaphysical and epistemological terrain that I travel, using Bond’s ideas of imagination and the self and the concept of home, connecting them to the ideas of self and reality as used in Vedanta in Indian philosophy and weaving both into my own idea of self. I describe, in this paper, how the students and I used drama to enable them to construct a more empowering idea of themselves in the universe — more at home in an otherwise hostile world.

APA, Harvard, Vancouver, ISO, and other styles

44

Aftab, Asma, and Sadia Akram. "Schooling the Souls of the Savages: Theme of Negative Stereotyping in Native American Play." Global Language Review VI, no. I (March 30, 2021): 99–105. http://dx.doi.org/10.31703/glr.2021(vi-i).11.

Full text

Abstract:

The present article deals with the theme of negative stereotyping in the backdrop of identity and representation in Native American drama with special reference to Scott Momaday's The Indolent Boys, The Moon in Two Windows, and Howe & Gordon's Indian Radio Days. By assuming an explicit postcolonial angle, these plays consciously subvert the project of negative stereotyping of the natives by employing the ideological vocabulary of the mainstream Euro-American discourse. In this way, the native American drama has become a significant site of deconstructing the binary of 'us' and 'them' by reversing the logic of imperialism and by resisting against the exploitative history of colonization.

APA, Harvard, Vancouver, ISO, and other styles

45

Aftab, Asma, and Sadia Akram. "Schooling the Souls of the Savages: Theme of Negative Stereotyping in Native American Play." Global Language Review VI, no. II (June 30, 2021): 30–36. http://dx.doi.org/10.31703/glr.2021(vi-ii).04.

Full text

Abstract:

The present article deals with the theme of negative stereotyping in the backdrop of identity and representation in Native American drama with special reference to Scott Momaday's The Indolent Boys, The Moon in Two Windows, and Howe & Gordon's Indian Radio Days. By assuming an explicit postcolonial angle, these plays consciously subvert the project of negative stereotyping of the natives by employing the ideological vocabulary of the mainstream Euro-American discourse. In this way, the native American drama has become a significant site of deconstructing the binary of 'us' and 'them' by reversing the logic of imperialism and by resisting against the exploitative history of colonization.

APA, Harvard, Vancouver, ISO, and other styles

46

Jones, Daystar/Rosalie. "Dreaming the Fourth Hill." Dance Research Journal 48, no. 1 (April 2016): 13–18. http://dx.doi.org/10.1017/s0149767716000048.

Full text

Abstract:

Dancer. Teacher. Choreographer. Writer. Passionate Amateur Mime and Mask-Maker. Wannabe Puppeteer. Founder, Director of Daystar: Contemporary Dance-Drama of Indian America. Acknowledged ‘pioneer’ of native modern dance USA. My father's insight: One day you will realize that you were blessed to be a descendant of the original peoples of this land.

APA, Harvard, Vancouver, ISO, and other styles

47

Solankhi, Ruchi. "THE PROPERTY OF AN ADVANCED MANLINESS: A FEMININE FELLA IN THE DRAMA." International Journal of Social Sciences & Economic Environment 3, no. 2 (December 30, 2018): 15–22. http://dx.doi.org/10.53882/ijssee.2018.0302003.

Full text

Abstract:

Feminine Man in Indian English Theatre is the subject of this paper as a new location for gender politics. Society develops gender assumptions based on how men and women behave in a cultural environment. Many detractors argue that gender is a social construct, whereas sex is biology. Since the start of civilization, each epoch has had its own distinct vision of what it means to be a man. Masculinity in today's society is defined in a broad sense. Feminine Man is a result of today's masculinity. In modern Indian English theatre, the 'invisible' issue of gender identity is revealed. Mahesh Dattani's comedy Dance Like a Man is about masculinity. Jairaj Parekh, the protagonist of India's new age theatre, represents and emphasises this Feminine Man tendency, which is influenced by social circumstances in some way. Keywords: India, sociological phenomena, play, staging, protagonist

APA, Harvard, Vancouver, ISO, and other styles

48

DHARWADKER, APARNA. "Diaspora and the Theatre of the Nation." Theatre Research International 28, no. 3 (October 2003): 303–25. http://dx.doi.org/10.1017/s0307883303001159.

Full text

Abstract:

Among the cultural forms of the Indian diaspora in the West, the radical obscurity of drama and theatre in comparison with fiction, non-fiction, and poetry suggests a complicated relation between genre, location, language, and experience. As a collaborative public medium theatre depends on material resources, institutional networks, and specific cultural contexts which place it at several removes from the privacy and relative self-sufficiency of print genres. Moreover, while novelists often employ diaspora as the enabling condition but not the subject of narrative, immigrant playwrights can create original theatre only when they distance themselves from their cultures of origin and embrace the experience of residence in the host culture, with all its attendant problems of acculturation and identity. In Canada, where the Indian immigrant communities are older, often visibly underprivileged, and entangled in post/colonial histories, an emergent culture of original playwriting and performance has offered a critique of the home-nation as well as of conditions in the diaspora. In the United States, in contrast, where large-scale immigration from India is relatively recent, socially privileged, and unencumbered by colonial baggage, original drama is virtually absent, and various forms of ‘travelling’ theatre dominate the culture of performance, reinforcing a powerful synonymy between ‘diaspora’ and ‘nation’. These two North American locations are paradigmatic examples, therefore, of the historically grounded interconnections between diaspora, nation, and theatre in the modern Indian context.

APA, Harvard, Vancouver, ISO, and other styles

49

Alter, Joseph S. "Somatic Nationalism: Indian Wrestling and Militant Hinduism." Modern Asian Studies 28, no. 3 (July 1994): 557–88. http://dx.doi.org/10.1017/s0026749x00011860.

Full text

Abstract:

In the West it is commonplace to regard sport as either an extracurricular form of leisure, or else as a business enterprise. Games and contests of all kinds are a form of distraction; and for some a very lucrative form at that (Smith 1978). Almost by definition sports direct our attention away from ‘real life’ to some form of fantasy world where there is high drama but little by way of the material or ideological substance of productive, pragmatic and ‘rational’ labor (cf. Rojek 1985; Simon 1985). Hand in hand with such a notion of marginal utility goes a folk attitude that sport is meaningless by virtue of its being purely and simply fun, as though pleasure and purpose are somehow antithetical.

APA, Harvard, Vancouver, ISO, and other styles

50

Jin, Chenyuan. "The possibility of using psychotherapeutic elements of traditional Chinese drama in modern theatrical culture." Философия и культура, no. 4 (April 2023): 88–102. http://dx.doi.org/10.7256/2454-0757.2023.4.40521.

Full text

Abstract:

The article is devoted to the study of the history of theatrical therapy in the no-si ritual drama. It is shown that, in general, the ritual elements of the no-si drama can be used in modern drama therapy. In addition, dramatic therapy, which is implied by the author in this article, is somewhat different from the modern concept of psychodrama, since it covers large areas of the human psyche. The author believes that it is not necessary to completely ignore this complex area of human culture, because regardless of function or form, dramatic therapy is closely related to the shamanic ritual of healing. The formation of the Chinese national drama took place in the context of the historical development of China. Having originated in the most ancient forms of shamanic rituals, the theatrical performance has evolved into a unique stage genre. Along with other earliest theatrical forms such as ancient Greek theater and ancient Indian drama, Chinese opera originated several centuries before our era, but unlike them it has survived to this day almost unchanged. Now Chinese traditional opera occupies an important place in the list of intangible heritage not only of China itself, but also of the whole world. One of the most important milestones in the development of theatrical art in China was the ritual drama "no-si", which today the ritual drama no-si in China is called a real "living fossil", because it is the oldest cultural form that has come down to us through the centuries. Archaic religious rituals, reflected in modern theatrical performances, testify to the mixing and syncretization of various religious traditions, including no-rituals and no-si drama, and modernity. The current generation is successfully modernizing the tradition of its ancestors in accordance with the times, preserving it in the centuries-old cultural memory of its people.

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Indian drama'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles