Contents
Academic literature on the topic 'Manipuri theater'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Manipuri theater.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Manipuri theater"
1
Tirthankar, Laskar. "The Voyage of Theatre to Drama and the Intermingling of Transitional and Experimental Phases in Tripura's Pre-Independence Drama Literature from 1900-1950." Literary Druid 6, no. 1 (2024): 26–30. https://doi.org/10.5281/zenodo.10901370.
Full textAbstract:
<em>The history of theatre in Tripura dates back 150 years, with the royal family's close connection to Manipur and Manipuri society, influencing their culture through the popular Manipuri 'Giti-Natya' ballads and Radha Krishna's Rasa Lila. In the 18<sup>th</sup> century, the 'Kaliya Daman' Jatrapalawas performed in Udaipur under the patronage of Maharaja Ratna Manikya II. Meanwhile, the theatrical company "Ujjayanta Natya Samaj" had originally been established in Tripura in 1897 A.D. by Maharaja Radha Kishore Manikya, along with the Prince and other royal officials. Later, Ranbir Karta and Suren Karta's theatre company sparked the emergence of several theatre groups in Agartala, but none lasted more than two to four years. However, the young students formed new theatre troupes, including the Umakant Academy Student Drama Society, Edward Memorial Medical Institute Theatre, Sreepat's Tarun Sangh, the Students Association's Drama Branch, and the Belonia Student Drama Society. It was seen after some years that Tripuresh Majumdar, a prominent figure in Tripura's theatre practice, exemplifies the palace-centric style of theatre that extended to the common arena. Later, in the </em><em>post-independence phase, the dramatists took inspiration from their predecessors and contributed to the field of theatre and drama with the ideology of deliverance and upliftment of the state’s ancient artistic heritage.</em>
2
Sana, RK Yaibiren. "Anti-Colonial Performance Traditions in Manipur: Perspectives from Shumang Kumhei Theatre." eTropic: electronic journal of studies in the Tropics 22, no. 1 (2023): 100–118. http://dx.doi.org/10.25120/etropic.22.1.2023.3962.
Full textAbstract:
Post-colonialism has not brought to an end the perpetuation of colonial power structures and suppression. The ex-colonized countries still suffer from many forms of colonialism. In Manipur, a state located in the northeastern corner of India within the monsoonal tropics, complex political and cultural issues such as insurgencies, militarization and problems of Hinduization interweave through the post-colonial scenario. The rise of insurgencies after Manipur’s merger to the Indian Union in 1949, have resulted in armed conflicts within the state and have brought situations of turmoil and suffering to the people. Prior to British colonization, Hinduization had already begun in the 15th century and the ‘cultural insurgents’ of Manipur to this day consider it a lasting imperialist force which tries to subjugate and suppress the Indigenous culture and religion of the people of Manipur. In these circumstances, theatre, which is the closest medium to the people, evolved as a decolonizing agent by proposing self-determination and peace building. Hence, by taking the account of Manipur and its Indigenous Meitei theatre form of Shumang Kumhei, this paper attempts to discuss the power and purpose of theatre in situations where political, religious and cultural suppression still operate and colonial structures still function, now in neocolonial forms.
3
Mandal, Pranab Kumar. "SILENCE AS THE RHETORIC OF RESISTANCE IN HEISNAM KANHAILAL’S THEATRE PRACTICE." ShodhKosh: Journal of Visual and Performing Arts 3, no. 2 (2022): 252–58. http://dx.doi.org/10.29121/shodhkosh.v3.i2.2022.179.
Full textAbstract:
The theatre practice of Heisnam Kanhailal and his cocreator of performance, Heisnam Sabitri is less of words, speeches and dialogues than found in conventional proscenium theatre. Both Kanhailal and Sabitri believe that theatre has a language of its own and that language is not necessarily a language of verbal communication. In their theatre, action is expressed more through body movements, physical gestures and sounds than through spoken words as they believe that non-verbal silent communication of a theatrical action or feeling is more powerful than the spoken ones. This unusual mode of theatrical narrative has helped Kanhailal to form a rhetoric of resistance against various forms of socio-political injustice that Manipur has historically gone through. The articulation of theatrical communication in his plays occurs happens more through silence, gestures, and sounds than through conventional verbal communications. He was creating in Manipur what his contemporary Pinter was creating in England, much at the same time, much in the same line, much with the same motif although with much difference in their context and artistic execution.
4
Kabyashree Borgohain, Augusty Kashyap, Bishnu Pal Hazarika. "Women, Nation and the State: A study on North- East India with special reference to Manipur." Tuijin Jishu/Journal of Propulsion Technology 44, no. 3 (2023): 3167–72. http://dx.doi.org/10.52783/tjjpt.v44.i3.1425.
Full textAbstract:
North –East India which is considered as the most vulnerable region of India consists of eight states which are Assam, Arunachal Pradesh, Meghalaya, Mizoram, Tripura ,Manipur and Sikkim. North –East region of India is the home of diverse nationalities and ethnic minorities. The Northeast region of India is a classic example of linguistic and ethno-cultural diversity. Conflicts and ethnic differences are neither new nor unusual in India's northeast. India's Northeast part has been also termed as a minefield of militant activities and a theatre of inferno( Kom,2010). This paper is an attempt to uncover the political history of Manipur and how women become victim of objectification and commodification during any conflicting situations. It is also an effort to reinvestigate the issue of violation of rights of women during political trauma in Manipur and the center’s response to the very issue of the Manipur .
5
Roy, L. Somi. "A Window on the World: A Remote Corner of Asia Puts on a Play about 9/11." TDR/The Drama Review 48, no. 2 (2004): 68–75. http://dx.doi.org/10.1162/105420404323063409.
Full textAbstract:
This installment of Critical Acts tours the apartment of Marvin Carlson, where Helen Paris, Leslie Hill, and Lois Weaver offer On the Scent, a piece of installation-theatre of smell-filled rooms; a sumaang leela performance about the events of 9/11 that toured the isolated state of Manipur, India, the home of one of the Trade Tower victims who worked at Windows on the World; and iMumbo Jumbo, a production by Third World Bunfight, a South African theatre troupe.
6
Bharucha, Rustom. "The Indigenous Theatre of Kanhailal." New Theatre Quarterly 8, no. 29 (1992): 10–22. http://dx.doi.org/10.1017/s0266464x00006278.
Full textAbstract:
Our coverage of Indian theatre in NTQ, as in the original Theatre Quarterly, has been as full as opportunities allowed — notably, including a major four-part assessment by Kenneth Rea in TQ30–34 (1978–79), and a three-part personal casebook by Rustom Bharucha of his production of Kroetz's Request Concert, as adapted to the needs of different Indian cities, in NTQ11–13 (1987–88). The fact that we have never covered the theatre of the state of Manipur, which adjoins Burma and Bangladesh on India's north-eastern border, is all too symptomatic of its more general neglect – at one extreme by central government, and at the other by those who might usefully learn from and contribute to the development of its indigenous theatre. Here, Rustom Bharucha – now based once more in his home city of Calcutta, after a period of work in the United States – explains the background of exploitation and deprivation against which he proceeds to set the indigenous theatre work of the director Kanhailal. Looking in particular at Pebet, a play from the 'seventies based on folk tradition, and at the more recent Memories of Africa, Bharucha attempts to draw some conclusions about the problems and the potential of ‘seeing our cultures from below’ by means of a theatre that springs from and connects with the needs of the people.
7
Sinha, Prathma. "Role of Aesthetic in Understanding Literature: A Study of Tempest." International journal of Research 8, no. 6 (2022): 525–32. https://doi.org/10.5281/zenodo.7978004.
Full textAbstract:
<em>This paper aims to study Shakespeare’s play Tempest through Rasa theory. Rasa is the study of universal human emotion. Aesthetic has always been the centre of Indian philosophy. The theory of rasa forms aesthetic, which is the foundation of all the Indian theatre and classical dance forms like Bharatanatyam, Kathak, Kathakali, Odissi, Manipuri and others. The Natyashastra portrays the bhavas used to create each rasa bhava or state of mind and rasa are the term concerned with Indian drama and literature. Rasas are created by bhavas. Bharata muni has described it in the Natyashastra, which is an ancient work on dramatic theory. A Rasa is the developed enviable state of permanent mood that is called sthayi bhava (permanent emotion). Rasa is not similar to the occidental aesthetic.</em>
8
Yadav, Monika, Rohan Pal, Somorjit H. Sharma, and Sulochana D. Khumanthem. "Microbiological surveillance of operation theatre in a tertiary care hospital in North East India." International Journal of Research in Medical Sciences 5, no. 8 (2017): 3448. http://dx.doi.org/10.18203/2320-6012.ijrms20173538.
Full textAbstract:
Background: Good hospital hygiene is an integral part of infection control programme. “Microbiological surveillance” provides data about the factors contributing to infection. Bacterial counts in operation theatres are influenced by number of individual present, ventilation and air flow methods. Purpose of the study is to find out prevalence rate of microorganisms in Operation Theatre, to find out the frequency of contamination from various sites in operation theatre.Methods: The study was conducted in the department of microbiology, Regional institute of medical sciences, Imphal, Manipur, India. Air samples were taken by settle plate method in petri dishes containing blood agar and surface samples were taken by a sterile swab soaked in nutrient broth from all operation theatres. The samples were processed according to standard operative procedures.Results: Least bacterial colony forming unit (CFU) was shown by ophthalmology OT 17 CFU/mm3 and highest was shown by emergency OT 200 CFU/mm3. Isolated organism was divided into normal flora (CONS, micrococci), contaminant (bacillus species) and pathogenic organism e.g. Staphylococcus aureus, Acinetobacter spp., Pseudomonas spp. 15 (23.4%) swab samples out of a total of 64 swab samples were found to be growth positive. Out of that 4 CONS, 4 micrococci, 3 Bacillus spp, 2 Acinetobacter spp, 1 Enterobacter spp, 1 Pseudomonas spp. were isolated.Conclusions: Strengthening surveillance and laboratory capacity will surely enhance infection prevention and control. Routine sampling is strongly recommended for increasing awareness to identify and control all possible sources and types of infections.
9
Silveira, Camila Nunes Duarte, Maria Cleidiana Oliveira de Almeida, and Ana Palmira Bittencourt Santos Casimiro. "A arte de dominar: o teatro de José de Anchieta como instrumento de reconstrução da memória coletiva indígena." Dramaturgia em foco 5, no. 1 (2025): 89–108. https://doi.org/10.5281/zenodo.14930428.
Full textAbstract:
José de Anchieta fez amplo uso de seus conhecimentos adquiridos no Colégio das Artes, em Coimbra, para criar um teatro adaptado ao seu público, formado principalmente por indígenas, com o objetivo de apresentar-lhes o “mundo cristão”. Objetivamos analisar o teatro de José de Anchieta, com foco no <em>Auto da pregação universal</em>, como elemento retórico motivador para uma reconstrução da memória coletiva indígena, no contexto do século XVI e, por conseguinte, uma estratégia de dominação favorável ao projeto colonizador português. Aqui, lançamos mão de documentos coloniais, a exemplo das cartas jesuíticas e dos estudos em memória, desenvolvidos por Leroi-Gourhan (2002) e Jacques Le Goff (2012). Os resultados apontaram que o teatro de José de Anchieta, por meio de seus autos adaptados, constitui-se em um importante elemento de manipulação, dominação e reconstrução da memória coletiva ameríndia.
10
Roy, Somi. "Imasi Document: M.K. Binodini Devi in Modern Manipuri Culture." July 26, 2017. https://doi.org/10.5281/zenodo.834802.
Full textAbstract:
On M.K. Binodini Devi and Her Place in Modern Manipuri Culture L. Somi Roy, M.K. Binodini Memorial Lecture Program Booklet, 2014 [<em>Excerpt</em>] Maharaj Kumari Binodini Devi is the key renaissance figure of modern, contemporary Manipuri culture. A Manipuri writer who bridged the two worlds of ancient royalty and modern life, M.K. Binodini Devi was born as a princess into a palace life. Yet she transcended the constraints of royalty to live to the full the life of an enlightened commoner and emerged as the iconic pioneer in the evolution of Manipuri modernism. M.K. Binodini Devi brought a deep humanism and a sense of beauty and esthetics to all her work. She made her name in the wider world as a novelist and a writer of short stories, essays, plays and screenplays of award-winning films, lyrics, poems and ballet scripts. But her work spread beyond literature and film, theater, and dance to sculpture, environmentalism, women’s issues, youth, social activism and electoral politics. Her work garnered accolades beyond Manipur on the national stage and in the international arena.
Books on the topic "Manipuri theater"
1
Siṃha, Noṃmāithema Tombī. Maṇipurī sāhityada anaubā mīt̲ẏeṃ amā. Bhī. Āi. Pablikeśansa, 1985.
Find full text
3
Seagull Foundation for the Arts. Theatre in Manipur today. Naveen Kishore for the Seagull Foundation for the Arts, 1997.
Find full text
4
Debī, Ṭi Eca Ranajanā. Haisnāma Kanhāilālagī phambākakūmmai amaśuṃ Manipurī phokalora. Rinda Publications, 2015.
Find full text
5
Manipuri dance: An assessment on history and presentation. Shubhi Publications, 2010.
Find full text
8
Panja, Shormishtha, and Babli Moitra Saraf, eds. Performing Shakespeare in India. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9789356407770.
Full textAbstract:
This book is envisaged as an intervention in the ongoing explorations in social and cultural history, into questions of what constitutes Indianness for the colonial and the postcolonial subject and the role that Shakespeare plays in this identity formation.Performing Shakespeare in Indiapresents studies of Indian Shakespeare adaptations on stage, on screen, on OTT platforms, in translation, in visual culture and in digital humanities and examines the ways in which these construct Indianness. Shakespeare in India has had multiple local interpretations in different media and equally wide-ranging responses, be it the celebration of Shakespeare as abishwokobi(world poet) in 19th-century Bengal, be it in the elusive adaptation of Shakespeare in Meitei and Tangkhul tribal art forms in Manipur, or be it in the clamour of a boisterous Bollywood musical. In the response of diasporic theatre professionals, or in Telugu and Kannada translations, whether resisted or accepted with open arms, Shakespeare in India has had multiple local interpretations in different media. All the essays are connected by the common thread of extraordinary negotiations of postcolonial identity formation in language, in politics, in social and cultural practices, or in art forms.
9
Paliwal, Avinash. India's Near East. Oxford University Press, 2024. https://doi.org/10.1093/oso/9780197794692.001.0001.
Full textAbstract:
Abstract India’s near east encompasses Bangladesh, Myanmar and the Indian states of the “Northeast”—Arunachal Pradesh, Sikkim, Assam, Nagaland, Manipur, Meghalaya, Tripura, and Mizoram. Celebrated as a theatre of geo-economic connectivity typified by India’s “Act East” policy, the region is key not only to India’s great-power rivalry with China, which first boiled over in the 1962 war, but to the idea(s) of India itself. It is also one of the most intricately partitioned lands anywhere on Earth. Rent by communal and class violence, the region has birthed extreme forms of religious and ethnic nationalisms and communist movements. The Indian state’s survival instinct and pursuit of regional hegemony have only accentuated such extremes. This book scripts a new history of India’s eastward-looking diplomacy and statecraft. Narrated against the backdrop of separatist resistance within India’s own northeastern states, as well as rivalry with Beijing and Islamabad in Yangon and Dhaka, it offers a simple but compelling argument. The aspirations of “Act East” mask an uncomfortable truth: India privileges political stability over economic opportunity in this region. In his chronicle of a state’s struggle to overcome war, displacement and interventionism, Avinash Paliwal lays bare the limits of independent India’s influence in its near east.
Book chapters on the topic "Manipuri theater"
1
Shivaprakash, H. S., and Kamalakar Bhat. "Manipuri Theatre: Myth and Reality." In The Word in the World. Routledge, 2023. http://dx.doi.org/10.4324/9781003427803-25.
Full text
2
Davis, Paul K. "Imphal." In Besieged. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195219302.003.0093.
Full textAbstract:
Abstract War came to Burma in January 1942, when Japanese forces invaded from French Indochina. British forces in Burma were rapidly over-whelmed and fled for India, which they reached in May. Had the Japanese kept pushing, India lay open, but their unexpectedly quick occupation of Burma, coupled with the oncoming monsoon, convinced them to stop and consolidate first. That consolidation, owing to the drain on Imperial Japanese Army resources in other theaters, lasted eighteen months. The British Indian Army had not been lax in taking advantage of their respite and had been reinforcing Lieutenant General William Slim’s forces along the Burma-India frontier. The primary concentration of forces was at Imphal, capital of the Manipur Province of India, located some 400 miles east-northeast of Calcutta. The city of lmphal lay on the Imphal plain, a plateau some 2,500 feet above sea level and surrounded by mountains. The Indian Army 4th Corps was based there, commanded by Lieutenant General Geoffrey Scoones. The 4th Corps consisted of the 17th, 20th, and 23rd Divisions. Imphal at the outset was served by but one improved road and a few unimproved roads, but since 1942 Slim and Scoones had thousands of laborers working to pave two more roads in order to flood Imphal with all supplies necessary for the troops to either beat back a Japanese offensive or launch one of their own. By March 1944, Slim had to decide for which of those options to prepare.