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Journal articles on the topic 'Modern Indian theatre movement'

Author: Grafiati

Published: 7 June 2025

Last updated: 2 August 2025

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1

Dr., M. SUBBIAH. "THE IMPACT OF WESTERN THEATRE ON THE EVOLUTION OF MODERN INDIAN THEATRE." Global Journal of Arts Humanity and Social Sciences 5, no. 2 (2025): 166–74. https://doi.org/10.5281/zenodo.14822661.

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This research paper delves into the intricate relationship between Western and Indian theatre, exploring the multifaceted impact of cross-cultural interactions on the evolution of modern Indian theatre. Spanning historical, artistic, and educational dimensions, the study uncovers the dynamic synthesis of Western influences with indigenous traditions, shaping narratives, aesthetics, and training methodologies. The historical overview examines the colonial period, tracing the introduction of Victorian drama and realism to India. Playwrights like Rabindranath Tagore creatively adapted Western for

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Bhuyan, Abul Basher MD Ziaul Haque. "The synthesis of tradition in contemporary theatre of Bangladesh: “The theatre of roots”." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 4 (2022): 84–104. http://dx.doi.org/10.35852/2588-0144-2022-4-84-104.

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The article examines how the Eastern traditional theatre responded to the Western theatre in the context of the British colonial regime in the Indian subcontinent. From this point of view, the dialogue between cultures was practically not considered. Hence, this study is devoted to understanding the synthesis of European theatre and traditional theatre, which began to be considered a rural art form by the early twentieth century, meaning something simple or low. In contrast, urban theatre of the European type was perceived as something refined or high. Rabindranath Tagore had not been fully su

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3

Zarna, Tejendrabhai Pandya, and Alpesh Upadhyay Dr. "ORIGIN AND HISTORY OF DRAMA IN INDIA." INTERNATIONAL EDUCATIONAL JOURNAL OF SCIENCE AND ENGINEERING - IEJSE 7, no. 3 (2024): 25–30. https://doi.org/10.5281/zenodo.15607522.

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This paper explores the origin, development, and contemporary significance of drama in India, tracing its evolution from ancient ritualistic performances to modern theatrical expressions. The study examines the influence of Vedic rituals, Sanskrit drama, and the Bhakti and Sufi traditions on Indian theatre, as well as the impact of colonialism, regionalism, and globalization on its growth and adaptation. Through an analysis of key historical periods, including the Classical, Medieval, Mughal, and post-Independence eras, the paper highlights the fusion of Indian and foreign influences, the emer

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Samipendra Banerjee. "Colonial Encounters, Nationalism and the Public Theatre in Calcutta." Voice of Creative Research 4, no. 2 (2022): 1–5. https://doi.org/10.53032/tvcr/2022.v4n2.01.

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This research article examines the intersections of colonial encounters, nationalism, and the public theatre in Calcutta during the late 19th and early 20th centuries. Focusing on the dynamic cultural and political landscape of colonial Bengal, the study investigates how the emergence of public theatre served as a crucial site for negotiating and expressing nationalist sentiments in response to British colonial rule. The article begins by contextualizing Calcutta’s theatrical milieu within the broader framework of colonialism’s impact on Indian society and culture. It explores how European-sty

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Patra, Mintu. "POWER POLITICS IN GIRISH KARNAD’S HAYAVADANA AND TUGHLAQ." JOURNAL OF ENGLISH LANGUAGE AND LITERATURE 10, no. 04 (2023): 17–21. http://dx.doi.org/10.54513/joell.2023.10404.

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Through the centuries, Indian drama has been one of the means of discovering how a human being can achieve an optimal human existence–cultural, social, political, material, and spiritual. The staging of patriotic plays in modern Indian theatre boosted operative energy in the freedom movement. The spirit of liberty provided significant impetus to the revival of various forms of performing arts. After independence, Karnad, along with other playwrights such as Vijay Tendulkar, Mohan Rakesh, and Badal Sircar, conducted 101 theatrical and thematic experiments in order to free individuals from the s

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Jha, Dr Suprita. "Tendulkar’s ‘Ghashiram Kotwal: An Illustration of Socio-Political Opportunism." International Journal of English Literature and Social Sciences 3, no. 5 (2018): 927–30. http://dx.doi.org/10.22161/ijels.3.5.38.

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he development of modern theatre in India may be attributed to a change in the political set up in India. Post-Independence Indian theatre and drama got a new footing with the new found cultural confidence. The year 1972 turned out to be a landmark for the Indian vernacular theatre when Vijay Tendulkar’s Marathi play ‘GHASHIRAM KOTWAL’ made waves by its brilliant use of traditional folk forms in modern contemporary theatre. ‘GHASHIRAM KOTWAL’ has been in the controversy since its very inception. It was staged in 1972 but soon it was banned for its anti-Brahmin stance and the distortion of fact

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SOLOMON, RAKESH H. "From Orientalist to Postcolonial Representations: A Critique of Indian Theatre Historiography from 1827 to the Present." Theatre Research International 29, no. 2 (2004): 111–27. http://dx.doi.org/10.1017/s0307883304000276.

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This essay offers a comparative critique of all major Indian theatre histories written during the modern era. It reveals three distinct representations of Indian theatre and argues that each was a manifestation of a discrete historiographic approach, shaped by its particular historical and cultural moment. Theatre histories of the Orientalist period offer a narrow and elitist construction of Indian theatre as synonymous with a single defunct genre, the ancient Sanskrit theatre. Histories of the high nationalist phase make a token acknowledgement of the Sanskrit and traditional genres but defin

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Mitra, Shayoni. "Badal Sircar: Scripting a Movement." TDR/The Drama Review 48, no. 3 (2004): 59–78. http://dx.doi.org/10.1162/1054204041667730.

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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 (2023): 59–64. http://dx.doi.org/10.53032/tcl.2023.8.2.08.

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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 skillfu

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Yadav, Ajay Kumar. "ANALYZING THE INFLUENCE OF STREET THEATRE ON SOCIAL COMMUNICATION." International Journal of Innovations & Research Analysis 04, no. 02(II) (2024): 190–95. http://dx.doi.org/10.62823/4.2(ii).6748.

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Early in the 20th century, street theatre developed as a means of emancipating the working class and bolstering the revolt against established authority. Its journey in India started with left-wing theatre activists leading the anti-colonial movement. Although street theatre and folk theatre are closely related, street theatre is more of a participatory social communication process than a straightforward artistic medium. With an emphasis on the "Halla Bol" movement, this intellectual examines the function and possibilities of street theatre as a vehicle for community development intended to br

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Decheva, Violeta. "The Theatre of Bauhaus." Sledva : Journal for University Culture, no. 40 (April 7, 2020): 26–31. http://dx.doi.org/10.33919/sledva.20.40.6.

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How Bauhaus movement informs not only modern architecture but also modern theatre, dance, art, music, the structure of the stage, the idea of the space, etc.? The ‘theatre of Bauhaus’ is not a clear system of ideas shared by all the participants in the movement. On the contrary, there are many internal conflicts. But we could speak of concepts that were developed and became influential through Bauhaus, especially after the ‘branding’ of the movement in the US in the second half of 20th century.

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Awasthi, Induja. "Retrospective of Modern Indian Theatre: New Delhi, 1989." TDR (1988-) 34, no. 3 (1990): 183. http://dx.doi.org/10.2307/1146081.

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Bose, Neilesh. "Modern Indian Theatre: A Reader (review)." Asian Theatre Journal 28, no. 2 (2011): 592–95. http://dx.doi.org/10.1353/atj.2011.0052.

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Chaturvedi, Ravi. "Interdisciplinarity: A Traditional Aspect of Indian Theatre." Theatre Research International 26, no. 2 (2001): 164–71. http://dx.doi.org/10.1017/s0307883301000177.

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After a brief examination of the roots of interdisciplinary elements in classical theatre, the practice of this tradition in selected forms of modern folk and tribal theatre is discussed. The featured example is a prominent folk theatre form belonging to Central India, Pandwāni, which was not widely known even two decades ago, but which, today, has come to the forefront of attention. Increasingly it is attracting performers who work in such metropolises as Delhi, Mumbai and Calcutta, and serves to point out the tradition of interdiscplinarity which has long been a major characteristic of India

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15

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

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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 contemporar

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ANANTHAKRISHNAN, B. "Pedagogy, practice and research in Indian theatre." Theatre Research International 35, no. 3 (2010): 291–92. http://dx.doi.org/10.1017/s030788331000060x.

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Modern academic training for theatre in India has a history of just over fifty years (since independence). The National School of Drama (NSD) was set up in 1957, but the prime objective of the institution at that time was to generate professionals to develop children's theatre and rural theatre. Although India possessed a wide range of traditional performance cultures throughout the country, from rituals to folk performances and classical performances, the NSD was modelled on the Royal Academy of Dramatic Arts (RADA) since the new institution was led by a graduate of RADA, Professor Ebrahim Al

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Sherief Awad, Faten. "The physical movement of form in the modern theatre." Arts and Architecture Journal 1, no. 2 (2020): 159–73. http://dx.doi.org/10.21608/aaj.2020.274642.

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Liu, Siyuan. "The Cross Currents of Modern Theatre and China’s National Theatre Movement of 1925–1926." Asian Theatre Journal 33, no. 1 (2016): 1–35. http://dx.doi.org/10.1353/atj.2016.0015.

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Babu, Shyam. "Habib Tanvir’s Experiment with Folk Idioms: An Approach toward an Inclusive Theatre." International Journal of Literature Studies 3, no. 3 (2023): 01–08. http://dx.doi.org/10.32996/ijts.2023.3.3.1.

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Modern Indian theatre has a long and sustained tradition. It got invigorated and exposed to the western conventions of drama and performance in the post-independence scenario. It is therefore, a conglomerate of three strands: Sanskrit, folk and western dramaturgy. All these strands collide, intersect and sometimes blend with each other with a fine balance. Folk theatres and traditions of regional bhasha drama thus are key constituents of Modern theatre, which is rooted in the local cultures of common people’s belief systems and language. Folk theatre in India and modernity thus are integrated

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20

George, David E. R. "Quantum Theatre – Potential Theatre: a New Paradigm?" New Theatre Quarterly 5, no. 18 (1989): 171–79. http://dx.doi.org/10.1017/s0266464x00003067.

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The ‘theatre of the world’, or Theatrum Mundi, offered a pervasive emblematic view of the relationship between God, as playwright and audience, and his terrestrial creation. Although this became peculiarly appropriate during the Renaissance period, views of the theatre as microcosmic of the larger world have persisted – whether in the consciously wrought imagery of modern sociology or the unconscious colloquial useage of theatrical terms to describe everyday behaviour. In the article which follows, David E. R. George suggests that the ‘view’ of the subatomic world presented by quantum theory m

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21

Svarnyk, Bohdan. "Movement Theatre: Features of the Dutch Mime Culture." Issues in Cultural Studies, no. 38 (October 29, 2021): 178–85. https://doi.org/10.31866/2410-1311.38.2021.245890.

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The purpose of the article is to describe the features of the Dutch mime culture of the second half of the 20th century based on the analysis of the activities of the Movement Theatre under the direction of F. Vogels. Research methodology. The author of the article applies the historical and cultural method and the method of system analysis and synthesis to study the peculiarities of the development of mime culture in the Netherlands; the comparative and historical method to carry out a comparative analysis of the artistic and aesthetic principles of pantomime by E. Decroux and the mime cultur

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22

Nandkumar, Shrikant. "Impact of Nature and Natural Behavior Patterns on the Aangikaabhinaya/Movement Vocabulary of Chau Dance." Theatre Academy 3, no. 1 (2025): 26–44. https://doi.org/10.62425/theatreacademy.1548617.

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It is believed that from the earliest periods, the human species began to dramatically imitate the actions of animals. This natural behaviour pattern can be traced to tribal and folk art, such as painting, music, dance, and dance theatre. ‘Chau’, often spelt as ‘Chhau’ by some Indian authors, is a dance and dance-theatre form from the eastern region of India; it is one of the significant examples of how animal movements and subsequent nature patterns primarily impact dance patterns and their presentation. Chau is one of the famous traditional theatres of India, often categorized as semi-classi

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Islam, Md Alemul. "Parallel Interplay between Tradition and Folk Theatre: A Study of select works of Vijay Tendulkar." International Journal of English Literature and Social Sciences 8, no. 5 (2023): 210–14. http://dx.doi.org/10.22161/ijels.85.34.

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Folk theatre is the root of modern Indian drama, and with the advancement of modernity, folk theatre keeps balancing the dynamic aspect of modernity. Most of India's well-known playwrights overcame the limitations of regional language throughout the 1970s and produced a number of excellent plays on a national scale. The majority of their experimental productions were focused on incorporating Indian folk theatre components or performance traditions into mainstream theatre. As a result, we see Utpal Dutt using Jatra in Surya Sikar and Girish Karnad adopting Yakshagna, a traditional type of theat

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Nair, Sreenath. "Poetics, Plays, and Performance: The Politics of Modern Indian Theatre (review)." Asian Theatre Journal 25, no. 1 (2007): 165–68. http://dx.doi.org/10.1353/atj.2008.0002.

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Brahma Prakash. "Theatre of Roots: Redirecting the Modern Indian Stage (review)." Asian Theatre Journal 27, no. 1 (2010): 175–79. http://dx.doi.org/10.1353/atj.2010.0018.

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SHIM, JUNG-SOON. "Recasting the National Motherhood: Transactions of Western Feminisms in Korean Theatre." Theatre Research International 29, no. 2 (2004): 143–54. http://dx.doi.org/10.1017/s030788330400029x.

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The image of the National Motherhood is the potent cultural code for Koreans. The word ‘Feminism’ in the Korean context is identified as a system of ideas originating from the West. What happens when these two disparate cultural/historical impulses meet at the intersection of modern Korean theatre? This study examines the cultural transfer of Western feminisms and feminist plays in the Korean theatre from the 1920s, when Ibsen's play A Doll's House was first introduced to Korea, to the present. More specifically, it analyses six Western feminist plays such as Nell Dunn's Steaming and Marsha No

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

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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 Datta

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

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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 cr

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Pogrebnyak, Maryna, Olena Nemkovich, and Valerii Hromchenko. "Author’s dance theatre of the XX – the beg. of the XXI centuries: ‘The idea of freedom in the theory of drama’ and its influence on shape." Revista Amazonia Investiga 13, no. 80 (2024): 176–88. http://dx.doi.org/10.34069/ai/2024.80.08.15.

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This article investigates the influence of the ‘idea of freedom in the theory of drama’ on the form of the author’s dance theatre in the 20th and early 21st centuries. Through analysis of creative works by representatives of modern dance theatre, the study identifies and generalizes key stylistic and compositional features. These include: complete freedom in theatrical form and theme selection; liberation from conventional dance vocabulary in favor of ‘unconditional’ movement; free choice of music, including ‘non-ballet’ music; synthesis of diverse elements such as ritual dances, martial arts

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Catereva, Irina. "Actor’s expressivity in the energetic space of theatre action." Studiul artelor şi culturologie: istorie, teorie, practică, no. 2(47) (March 2025): 67–72. https://doi.org/10.55383/amtap.2024.2.11.

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Following the laws of modern physics, which claim that everything is vibration, theater practitioners analyze the human actor’s body as a conduit of energy of different qualities, and the correlation between actors and the people present at the theatrical action as a movement of energy. With the help of transcendental expressiveness, the actor is able to create a cumulative movement of emotional, intellectual, physical, spiritual energy, uniting everything into a single energetic space. He contributes to creating such contact with the audience, when they begin to feel the real presence of the

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Ruchi, Solankhi. "THE PROPERTY OF AN ADVANCED MANLINESS: A FEMININE FELLA IN THE DRAMA." InternationalJournalofSocial Sciences & Economic Environment 3, no. 2 (2018): 15–22. https://doi.org/10.53882/IJSSEE.2018.0302003.

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<strong>ABSTRACT</strong> 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

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32

Hansen, Kathryn. "Languages on Stage: Linguistic Pluralism and Community Formation in the Nineteenth-Century Parsi Theatre." Modern Asian Studies 37, no. 2 (2003): 381–405. http://dx.doi.org/10.1017/s0026749x03002051.

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The Parsi theatre was the dominant form of dramatic entertainment in urban India from the 1860s to the 1930s. Named for its Bombay-based pioneers, the Parsi theatre blended certain European practices of stagecraft and commercial organization with Indic, Persian, and English stories, music, and poetry. Through the impact of its touring companies, it had a catalytic effect on the development of modern drama and regional theatre throughout South and Southeast Asia. Moreover, Parsi theatre is widely credited with contributing to popular Indian cinema its genres, aesthetic, and economic base. With

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MAJUMDAR, ROCHONA. "Debating Radical Cinema: A History of the Film Society Movement in India." Modern Asian Studies 46, no. 3 (2011): 731–67. http://dx.doi.org/10.1017/s0026749x11000710.

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AbstractThis paper offers a history of the creation and development of film societies in India from 1947 to 1980. Members of the film society movement consisted of important Indian film directors such as Satyajit Ray, Ritwik Ghatak, Shyam Benegal, Basu Chatterji, Mani Kaul, G. Aravindan, Kumar Shahani, Adoor Gopalkrishnan, and Mrinal Sen, as well as film enthusiasts, numbering about 100,000 by 1980. The movement, confined though it was to members who considered themselves film aficionados, was propelled by debates similar to those that animated left-oriented cultural movements which originated

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

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Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkab

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Senelick, Laurence. "THE HOMOSEXUAL THEATRE MOVEMENT IN THE WEIMAR REPUBLIC." Theatre Survey 49, no. 1 (2008): 5–35. http://dx.doi.org/10.1017/s0040557408000021.

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When the first serious studies of the homosexual past began to appear in English, they bore titles like Hidden from History and Who Was That Man? Even now such studies may describe themselves as “disclosures,” “the secret life,” “the untold story.” The suggestion is that there has been, if not a deliberate suppression, then a less-than-benign neglect of those aspects of history that revealed the presence of same-sex desire and behavior. To unearth and disclose them was regarded as essential to the struggle for gay liberation. By establishing homosexual individuals as a presence from time immem

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Singleton, Brian. "K. N. Panikkar's Teyyateyyam: Resisting Interculturalism Through Ritual Practice." Theatre Research International 22, no. 2 (1997): 162–69. http://dx.doi.org/10.1017/s0307883300020563.

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Indian theatre practice under British colonial rule was marked by differing strategies of resistance: agit-prop drama to promote social and political reform; the preservation of classical dance as cultural heritage; and the continuing practice of folk rituals in rural areas outwith the immediate control of the colonial authorities. Postindependence India, however, has witnessed those ‘deviant’ practices of resistance become the dominant ideological performance practices of modern India. Much actor training continued to be modelled on British drama schools such as RADA (Royal Academy of Dramati

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G., Amruthakshi. "CONTRIBUTION OF CHANDRASHEKHAR KAMBAR TO KANNADA LITERATURE- A STUDY." Shanlax International Journal of Arts, Science and Humanities 6, S2 (2019): 276–81. https://doi.org/10.5281/zenodo.2637601.

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<em>Chandrashekhara Kambara is a prominent Indian poet, playwright, folklorist, film director in Kannada language and the founder-vice-chancellor of Kannada University in Hampi. He is known for effective adaptation of the North Karnataka dialect of the Kannada language in his plays, kambaras plays mainly revolves around folk or mythology interlinked with contemporary issues, inculcating modern lifestyle with his hard-hitting poems and has become a pioneer of such literature. His contribution as a playwright is significant not only to Kannada theatre but also to the Indian theatre in general as

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Ali, Sajjad. "Social Media's Impact on Kashmir's Liberation Movement." Journal of Regional Studies Review 2, no. 1 (2023): 18–25. http://dx.doi.org/10.62843/jrsr/2023.51003.

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The youth-driven liberation struggle in Indian Held Kashmir (IHK) goes beyond the armed insurrection. The non-violent technique uses social media to expose and denounce Indian armed forces brutality and human rights violations, including systematic torture, rape, extrajudicial killings, and prisoner mistreatment. The victims' stories have been widely shared on social media. The next phase of the liberation movement began in 2016 after the Indian military forces killed Burhan Muzaffar Wani. Wani, a young leader and freedom fighter, used social media to mobilize the youth of Kashmir for the caus

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Ahmad, S. Anas, and M. Rizwan Khan. "Protest through Theatre: Analysing Humour and Fantasy as Resistance Tropes in Badal Sircar’s Scandal in Fairyland and Beyond the Land of Hattamala." International Journal of Language, Literature and Culture 4, no. 6 (2024): 32–42. http://dx.doi.org/10.22161/ijllc.4.6.5.

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Theatre has long served as a powerful medium for registering dissent against injustice and oppression. This paper explores how Badal Sircar, a pioneering figure in modern Indian theatre, utilised humour and fantasy as resistance tropes in his "Third Theatre" concept. Focusing on two of Sircar's notable works, Scandal in Fairyland and Beyond the Land of Hattamala, this study examines how these elements function within the framework of protest theatre. The paper argues that Sircar's innovative approach, blending humour and fantasy with social critique, allowed him to address pressing societal is

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Yuzykayn, Erik A. "Prehistory and prerequisites of the creation of the Mari national theatre (1907–1919)." Finno-Ugric World 12, no. 3 (2020): 332–43. http://dx.doi.org/10.15507/2076-2577.012.2020.03.332-343.

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Introduction. Alongside with other cultural initiatives, the development of the theatre movement as a forerunner of the creation of the Mari national theatre was the result of the development of Mari cultural nationalism in the early twentieth century. The purpose of this article is to consider the facts of the prehistory of the creation of the Mari national theatre, which was set up in November 1919, and the factors that influenced the development of the theatre movement among Mari people. Materials and Methods. To achieve the goals, the author reviewed the first Mari periodicals, research an

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Alves, Joana Gouveia. "Cinémas Choisis." Global Design, no. 47 (2012): 52–55. http://dx.doi.org/10.52200/47.a.43e7mt76.

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his essay analyzes the cinemas that were featured in L’Architecture d’Aujourd’hui from 1930 until 1939. This being one of the most influential magazines for the spread of Modern Movement ideas, its editorial line focused on the adaptation of building to function and on the distinction between European and American cinemas. Theoretical texts separated classic live theatre from cinema design since programme and features were completely different. Far from American euphoria and classic theatre sobriety, how was architecture for cinema envisaged?

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Ara, Arzuman, and Sib Sankar Majumder. "Theatre as Social Critique in Select Nineteenth-Century Indian Plays." SCHOLARS: Journal of Arts & Humanities 5, no. 1 (2023): 71–79. http://dx.doi.org/10.3126/sjah.v5i1.52480.

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As an imitation of actions, theatre is representational. Different aspects of performative arts like theatre are a reflection of the contemporary age in which they are written and performed. Theatre in Calcutta, India, in the nineteenth century started being influenced by the colonial and European models. The changes brought in by colonial modernity are major tropes in many of the plays of that time. Colonial modernity brought English education, western liberal ideas and new lifestyle, which attracted the youth and made them criticize the old and traditional ways. Krishnamohan Bandyopadhyay’s

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Smith, Alexandra. "Nikolai Evreinov and Edith Craig as Mediums of Modernist Sensibility." New Theatre Quarterly 26, no. 3 (2010): 203–16. http://dx.doi.org/10.1017/s0266464x10000412.

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Nikolai Evreinov (1870–1953) was a Russian playwright, director, and theorist of the theatre who played a leading part in the modernist movement of Russian theatre. Evreinov's 1911 monodrama The Theatre of the Soul(V kulisakh dushi) was staged by the Crooked Mirror theatre in St Petersburg in 1912. It was also performed in London (1915) and Rome (1929), and inspired Man Ray to create his aerograph The Theatre of the Soul (1917). In this article Alexandra Smith links Evreinov's play to Russian modernist thought shaped by the atmosphere of crisis associated with the Russo–Japanese War and the fi

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Brahma, Dr Rustam. "Emerging Bodo Modern Plays: Looking at Historical and Thematic Aspects." Noesis Literary 2, no. 1 (2025): 1–15. https://doi.org/10.69627/nol2025vol2iss1-01.

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The paper explores the dramatic tradition in Bodo, its historical background, major works and playwrights. It argues that the early twentieth-century consciousness of Bodo ethnicity and its reformist spirit prepared the ground for the Bodo literary movement of the 1950s, especially in the field of poetry and drama, and the language and script movement of the 1980s. The Bodos struggled to express themselves and represent their socio-cultural milieus and their voice of resistance. This new social condition demanded a new popular media to disseminate consciousness among the masses. Bodo theatrica

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Nagaraju, Pejjai. "A Scenographic study in Draupadi's festival." Chitrolekha International Magazine on Art and Design, 6, no. 1 (2016): 2. https://doi.org/10.5281/zenodo.8250465.

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Abstract: The widespread presence of scenography is showing various changes in modern Western theatre societies. Like other Indian ritual theatres, Drauadi's ritual theatre has indigenous visual elements. This paper examines the scope of scenography analysis in open-area theatrical performances in Draupadi's festival of Chittore District in Andra Pradesh. In the cross-disciplinary performance review, I present hidden elements of scenography in the ritual performance of Draupadi's festival. This paper also shows the examination of space, text, colour and composition, performers and

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Ioannidou, Eleftheria. "Greek theatre, electric lights, and the plumes of locomotives: the quarrel between the Futurists and the Classicists and the Hellenic modernism of Fascism." Classical Receptions Journal 16, no. 1 (2024): 35–55. http://dx.doi.org/10.1093/crj/clad028.

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Abstract The controversy between the Futurists and the classicists over the Greek theatre of Syracuse remains largely overlooked within the scholarship concerned with the relationship between Futurism and Fascism. The Futurist movement launched a polemic against the staging of Aeschylus’ Libation Bearers in 1921, counterposing Greek tragedy to new forms of drama drawing on Futurist performance aesthetics and Sicilian popular theatre which, according to the Futurists, could express the spirit of the modern age. In a similar vein, the manifesto that F. T. Marinetti addressed to the Fascist gover

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Serhiy, Hordieiev. "Pedagogy of modern Ukrainian theater: on the way to artistic synthesis." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 63, no. 63 (2023): 91–107. http://dx.doi.org/10.34064/khnum1-63.05.

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Statement of the problem. Modern Ukrainian theatre studies, based on the theatre practice of the 20th – 21st centuries, pay considerable attention to the issues of evolution of the directing and acting art, theatre pedagogy, synthesis of traditional and innovative forms of education for creative youth. These explorations acquire special importance in the context of today’s theatre art, marked by the creative and pedagogical searches of Ukrainian theatre masters. The article is about the artistic and cultural situation in modern theatre education in Ukraine, the search for education models for

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

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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 rele

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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.

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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

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Paramguru, Kakali. "India's Graham: Martha Graham's Impact on Indian Modern Dance." Dance Research 42, no. 2 (2024): 164–99. http://dx.doi.org/10.3366/drs.2024.0430.

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I conducted semi-structured open-ended Zoom interviews with seven Indian dancers who studied with Martha Graham or her company between 1964 and 2009. Many of these dancers connected with Indian concepts and subject matter for the first time or in a new way through Graham, a phenomenon that would prove controversial in artistic milieus that pressured artists to serve cultural authenticity or embody a degree of ‘Indian-ness.’ Sparking questions and inspiring new approaches, Graham's impact on Indian modern dance cannot be ignored. This paper investigates the new direction(s) brought to Indian da

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