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Journal articles on the topic 'Sanskrit theatre'

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Published: 4 June 2021

Last updated: 7 February 2022

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1

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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2

Daugherty, Diane. "Kutiyattam: Sanskrit Theatre of India (review)." Asian Theatre Journal 21, no. 2 (2004): 224–25. http://dx.doi.org/10.1353/atj.2004.0012.

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3

Shulman, David D. "Studies in Kūṭiyāṭṭam : The Living Sanskrit Theatre of Kerala". École pratique des hautes études. Section des sciences religieuses, № 122 (1 вересня 2015): 105–10. http://dx.doi.org/10.4000/asr.1321.

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4

Brown, John Russell. "Voices for Reform in South Asian Theatre." New Theatre Quarterly 17, no. 1 (2001): 45–53. http://dx.doi.org/10.1017/s0266464x00014317.

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The classical theatres of southern Asia are variously treated with the reverence thought due to sacrosanct and immutable forms – or as rich sources for plunder by western theatre-makers in search of intra-cultural building-blocks. The rights and wrongs of this latter approach have been much debated, not least in the pages of NTQ; less so the intrinsic desirability of leaving well alone. At the symposium on Classical Sanskrit Theatre, hosted in Dhaka by the Centre for Asian Theatre in December 1999, an unexpected consensus sought ways in which classical theatre forms might best meet contemporar

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5

Brown, John Russell. "Shakespeare, the Natyasastra, and Discovering Rasa for Performance." New Theatre Quarterly 21, no. 1 (2005): 3–12. http://dx.doi.org/10.1017/s0266464x04000284.

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Recognizing analogies between the assumptions about theatricality found in the classic Sanskrit treatise on acting, the Natyasastra, and those of the Elizabethan theatre, John Russell Brown suggests that the concept of rasa as the determining emotion of a performance is similar to that of the Elizabethan ‘humour’, or prevailing passion, as defined by Ben Jonson. Here he describes his work exploring what happens when actors draw on their own life experiences to imagine and assume the basic rasa of the character they are going to present, based on experiments in London with New Fortune Theatre;

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6

DuComb, Christian. "Present-Day Kutiyattam: G. Venu's Radical and Reactionary Sanskrit Theatre." TDR/The Drama Review 51, no. 3 (2007): 98–117. http://dx.doi.org/10.1162/dram.2007.51.3.98.

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G. Venu, a scholar and practitioner of kutiyattam, responds to contemporary political conditions in Kerala and draws on the work of India's experimental Theatre of Roots movement in his unexpectedly classical production of Sakuntala. Though imbricated in both the traditional and the avantgarde—creating what Venu aptly calls “present-day kutiyattam”—the question remains: will the project's politics be read to the radical or the revolutionary?

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7

Richmond, Farley. "Kutiyattam: Marriage of an Ancient Art and the New Technology." Journal of Educational Technology Systems 24, no. 2 (1995): 165–71. http://dx.doi.org/10.2190/2w01-7ahb-af02-3xwy.

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This presentation traces the development of a multimedia program on Kutiyattam, the Sanskrit theatre of India, perhaps the world's oldest surviving genre of theatre. The program was designed and developed on HyperCard, including QuickTime movies, scanned slides and photographs, and sound. It includes many articles on the subject, as well as a devanagri text and English translation of the Hastalakshanadipika, an ancient Sanskrit manuscript regarded as the source of the gesture language of the actors. The application focuses on stylized gestures which are an essential part of the language of per

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8

Chatterjee, Sudipto. "SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN." Theatre Survey 49, no. 1 (2008): 109–17. http://dx.doi.org/10.1017/s0040557408000069.

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In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus c

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9

Casassas, Coralie. "Female Roles and Engagement of Women in the Classical Sanskrit Theatre Kūṭiyāṭṭam: A Contemporary Theatre Tradition". Asian Theatre Journal 29, № 1 (2012): 1–30. http://dx.doi.org/10.1353/atj.2012.0003.

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10

Brook, Peter. "As the Story Goes …" Scenario: A Journal of Performative Teaching, Learning, Research XII, no. 2 (2018): 110–11. http://dx.doi.org/10.33178/scenario.12.2.23.

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In the rubric Texts around Theatre (TaT) we present various perspectives on theatre – historical and contemporary, intercultural and culture-specific, unexpectedly weird, unusually suspenseful, disturbedly gripping, fascinatingly enigmatic etc. Through the following story renowned theatre director Peter Brook reminds us that what happens on the theatre stage has to be of interest to everyone in the audience, and he leaves us with the question: How can this be achieved? God, seeing how desperately bored everyone was on the seventh day of creation, racked his overstretched imagination to find so

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11

Sullivan, Bruce. "How Does One Study a “Masterpiece of the Oral and Intangible Heritage of Humanity”? Ethnographic Reflections on Kerala's Kūtiyāttam." Method & Theory in the Study of Religion 21, no. 1 (2009): 78–86. http://dx.doi.org/10.1163/157006809x416841.

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AbstractThis article presents issues encountered in ethnographic fieldwork in Kerala, south India, on a tradition of Sanskrit theatre called Kūtiyāttam. Key issues include recent changes in both the audience and performing troupes as Kerala's society has become more egalitarian, and reduced ritual activity by priests. Kūtiyāttam has been transformed from a devotional offering in temples to a cultural performance viewed as an art form. Ethnographic research on this tradition has contributed to international recognition and patronage. In this case, ethnographic fieldwork affects both the researc

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12

Richmond, Farley, та Yasmin Richmond. "The Multiple Dimensions of Time and Space in Kūṭiyāṭṭam, the Sanskrit Theatre of Kerala". Asian Theatre Journal 2, № 1 (1985): 50. http://dx.doi.org/10.2307/1124506.

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13

Sullivan, Bruce M. "Dying on the Stage in the Nāṭyaśāstra and Kūṭiyāṭṭam: Perspectives from the Sanskrit Theatre Tradition". Asian Theatre Journal 24, № 2 (2007): 422–39. http://dx.doi.org/10.1353/atj.2007.0041.

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14

Senelick, Laurence. "Russian Enterprise, Bengali Theatre, and the Machinations of the East India Company." New Theatre Quarterly 28, no. 1 (2012): 20–29. http://dx.doi.org/10.1017/s0266464x12000024.

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Was the father of Bengali theatre a Russian? Or were the brief adventures in India of Gerasim Stepanovich Lebedev (1749–1817) ‘a mere blip on the screen of Bengali performance history’? Already widely travelled in Europe, Lebedev, influenced by the then current belief that India was the cradle of civilization, arrived in Madras in 1785 during the virtual hegemony of the East India Company in the sub-continent. Inspired by his attempts to master the ancient Sanskrit tongue, he eventually set up a Bengali company in opposition to the New Playhouse in Calcutta, which staged English plays for audi

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15

MASON, DAVID. "Rasa, ‘Rasaesthetics’ and Dramatic Theory as Performance Packaging." Theatre Research International 31, no. 1 (2006): 69–83. http://dx.doi.org/10.1017/s0307883305001860.

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In an attempt to distinguish themselves from the increasing proliferation of like projects, some theories, training programmes, productions, sub-disciplines and the like project a kinship with already authoritative voices. This artificial association characterizes the inevitably ‘intercultural’ product not simply as another element in the postmodern mix, but as a truth validated by tradition and transcending the limits of cultural fads. Richard Schechner's self-styled ‘rasaesthetics’ seeks to associate itself with the rasa concept of classical Sanskrit theory. But rasa and ‘rasaesthetics’ have

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16

Dimitrova, Zornitsa. "Aesthetic Codification of the ‘Unsavoury’ from Nāṭyaśāstra and the Poetics to Postdramatic Theatre". New Theatre Quarterly 31, № 4 (2015): 299–311. http://dx.doi.org/10.1017/s0266464x15000639.

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In examining the notion of entelechy – defined by Aristotle as the ‘final cause’ in drama – Zornitsa Dimitrova shows that depictions of ‘unsavoury’ content are only justified insofar as they are part of larger networks of aesthetic codification. The unsavoury cannot be an end in itself; neither can it function as an aesthetic category in its own right. Rather, it is a means related to pathos, or suffering, in Greek tragedy and bībhatsa, the ‘odious sentiment’ of the Sanskrit drama. Within such networks of codification, the purpose of the unsavoury is to carry forward the drama to an emotionall

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17

Madhavan, Arya. "Redefining the Feminine in Kathakali." New Theatre Quarterly 35, no. 02 (2019): 169–86. http://dx.doi.org/10.1017/s0266464x19000071.

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In this article Arya Madhavan examines the significance of the female protagonist Asti from the new Kathakali play, A Tale from Magadha (2015), in the four-hundred-year-old patriarchal history of Kathakali. The play is authored by Sadanam Harikumar, a Kathakali playwright and actor, whose contemporary retelling of Hindu myths and epics afford substantial agency to the female characters, compelling radical reimagining of Kathakali’s gender norms and a reconsideration of the significance of female characters, both on the stage and in the text. Asti unsettles the conventional norms of womanhood t

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18

Sarma, S. A. S. "Venerating Vēṭṭaykkorumakan (Son of Śiva and Pārvatī) through Ritual Arts". Cracow Indological Studies 20, № 1 (2018): 223–57. http://dx.doi.org/10.12797/cis.20.2018.01.09.

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Vēṭṭaykkorumakan is considered to be the son of Śiva and Pārvatī, born when they had assumed the form of a hunter and huntress. Although Vēṭṭaykkorumakan is considered as an incarnation, according to the narratives that are written in the local vernacular Malayalam, and known in the Malabar area of Kerala, he is considered to be only a hero too. Beside the tantric rituals that are usually performed for the deities, Vēṭṭaykkorumakan is venerated through two distinct rituals in Kerala, namely the Kaḷameḻuttuṃ Pāṭṭuṃ ritual in the southern part of Kerala, and the Teyyam ritual in northern Kerala.

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19

Vielle, Christophe. "The So-called Vyaṅgyavyākhyā: Selected Remarks for Reading It Philologically—A Review of K. G. Paulose (ed.). Vyaṅgyavyākhyā: The Aesthetics of Dhvani in Theatre. pp. xvi + 546. New Delhi: Rashtriya Sanskrit Sansthan–D.K. Printworld. 2013". Cracow Indological Studies 19, № 01 (2017): 139–53. http://dx.doi.org/10.12797/cis.19.2017.01.07.

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20

Arpaia, Maria. "Sounds on Stage: Musical and Vocal Languages and Experiences." Greek and Roman Musical Studies 7, no. 2 (2019): 346–69. http://dx.doi.org/10.1163/22129758-12341355.

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Abstract The twenty-four papers delivered at the graduate conference entitled “Sounds on Stage: Musical and Vocal Languages and Experiences” (L’Aquila, 14-16 November 2018) investigated the relationship between music and theatrical performances from a comparative perspective. The presentations dealt with the role of music in several theatrical genres from different cultures and times: ancient Greek drama, musical theater (especially opera), modern and contemporary theater and ancient ritual Sanskrit drama.

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21

Ghoshal, Shubhra, and Nirban Manna. "Theatre for Sustainable Development: Jana Sanskriti’s Participatory Ideologue and Practice." Problemy Ekorozwoju 15, no. 1 (2020): 221–27. http://dx.doi.org/10.35784/pe.2020.1.23.

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As a reaction against the institutionalized top-down developmental orientation, the theory and praxis of development as an inclusive process of socio-political collective transformation has been constantly realized. At this juncture, performative activities have become increasingly instrumental strategies in engaging people more intrinsically in their various personal and social development issues. The focus of this paper lies in studying Jana Sanskriti Centre for Theatre of the Oppressed, which despite being an apolitical organisation, offers significant contribution towards searching for via

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22

Brahma, Jharna, Vinod Pavarala, and Vasuki Belavadi. "Driving Social Change Through Forum Theatre: A Study of Jana Sanskriti in West Bengal, India." Asia Pacific Media Educator 29, no. 2 (2019): 164–77. http://dx.doi.org/10.1177/1326365x19864477.

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This article examines Forum Theatre as a form of participatory communication for social change. Based on an ethnographic study of Jana Sanskriti ( JS), a Forum Theatre group working for over three decades in the eastern Indian state of West Bengal, this article seeks to show how this form of theatre, developed by the Brazilian activist Augusto Boal, subverts the passivity inherent in the communicator–receiver model of the dominant paradigm by activating the critical consciousness of the spectator and triggering a process of social change through dialogue and discussion. JS has been using Forum

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23

Mills, Sandra. "Theatre for transformation and empowerment: a case study of Jana Sanskriti Theatre of the Oppressed." Development in Practice 19, no. 4-5 (2009): 550–59. http://dx.doi.org/10.1080/09614520902866348.

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24

Yarrow, Ralph. "Performing agency: Body learning, Forum theatre and interactivity as democratic strategy." Studies in South Asian Film & Media 4, no. 2 (2012): 211–26. http://dx.doi.org/10.1386/safm.4.2.211_1.

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This article looks at how applications of Forum theatre process and related approaches in India may operate in terms of activation of particular modes of learning centred in the body. It discusses the body: as context (individual and collective, embedded in social, political, physical and emotional practices); with reference to process (activation, multiplication of kinds of knowing through theatre work); as extended beyond everyday operation and beyond the individual/egoic towards collective experience and action, including co-creativity and ‘rational collective action’. The article explores

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25

Ghoshal, Shubhra, and Nirban Manna. "Dialogue for Empowerment: Jana Sanskriti’s Experiment with the Method of the Theatre of the Oppressed in Rural Bengal." New Theatre Quarterly 36, no. 2 (2020): 117–30. http://dx.doi.org/10.1017/s0266464x20000226.

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Since the 1970s, belief in the importance of participatory empowerment has been constantly asserted through various mass-inclusive developmental strategies. The growing interest in theatre for generating socio-political capacity-building among people gave rise to the Theatre of the Oppressed, conceptualized and developed by Augusto Boal. This article provides a brief outline of the modus operandi of Boal’s practice, and focuses on investigating the theoretical and practical methodology of Jana Sanskriti, the West Bengal group of practitioners of Theatre of the Oppressed. The article investigat

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26

Green, Sharon L. "Jana Sanskriti: Forum Theatre and Democracy in India (review)." Modern Drama 54, no. 3 (2011): 393–95. http://dx.doi.org/10.1353/mdr.2011.0036.

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27

Knutson, Jesse Ross. "Money, Morality, and Masculinity: Staging the Politics of Poverty in Sanskrit Theater." Philosophy East and West 66, no. 1 (2016): 92–103. http://dx.doi.org/10.1353/pew.2016.0024.

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28

Dharwadker, Vinay. "Emotion in Motion: The Nāṭyashāstra, Darwin, and Affect Theory". Publications of the Modern Language Association of America 130, № 5 (2015): 1381–404. http://dx.doi.org/10.1632/pmla.2015.130.5.1381.

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A work of classical Indian theory and practice, Bharata's Nāṭyashāstra offers a comprehensive account of emotion and of the production, communication, and reception of representations of it in dance, music, poetry, and theater. This essay examines remarkable points of convergence and divergence between the third-century Sanskrit text and three influential modern Euro-American accounts: Charles Darwin's mapping of involuntary expressions of emotion in human beings and animals, William James's aggregation of emotions in the stream of consciousness, and Sylvan Tomkins's atlas of primary affects t

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29

Gupta, Yashasvi. "STAGE TECHNOLOGY IN THE MODERN ERA." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (2015): 1–3. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3416.

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The specific place where the artist sits for the presentation of any art or specific ideas is called the stage. This is also called theater because pigmentation is its main subject. In Western countries or the English language, it is called a stage. It seems that theater was prevalent among the deities even before the emergence of humans. Like Kailash festival of Lord Shiva, Mata Vagishwari sitting on a peacock with a veena in her hand and dancing in the court of Indra to Gandharva, Kinnar, and Apsaras only indicate the existence of the stage. According to the tradition of Indian music and dra

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30

du Perron, Lalita. "Kutiyattam: Sanskrit Theater of India. By Farley Richmond. Interactive designer by David Z. Saltz. Ann Arbor, University of Michigan Press, 2002." Journal of the Royal Asiatic Society of Great Britain & Ireland 13, no. 1 (2003): 131–32. http://dx.doi.org/10.1017/s1356186303353040.

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31

Tieken, Herman. "Austin, Christopher R.: The Pradyumnābhyudaya of Ravivarman. A New Sanskrit Text of the Trivandrum Edition and English Translation. Wiesbaden: Harrassowitz 2019. 156 S. 8° = Drama und Theater in Südasien 12. Brosch. € 39,00. ISBN 978-3-447-11191-1." Orientalistische Literaturzeitung 115, no. 6 (2021): 477–80. http://dx.doi.org/10.1515/olzg-2020-0160.

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32

Ganser, Elisa. "Incomplete mimesis, or when Indian dance started to narrate stories." Asiatische Studien - Études Asiatiques, November 2, 2020. http://dx.doi.org/10.1515/asia-2020-0008.

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AbstractIt has become customary to refer to traditional Indian performance genres as “dance-theatre” in cases where they patently display techniques of narration or storytelling, carried out through the codified and controlled use of the body in time with the music of instruments and sung lyrics. The Indic vocabulary dedicates a specific term, nṛtya, to those forms in which the narrative element clearly prevails over the abstract dance movements—where gestures and facial expressions are used to communicate emotions but the dialogues or poetic lines are assigned to a singer and not recited by t

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33

"Sustainable Concepts of Traditional Sanskrit Theatre:the Harippad Subrahmanya Swami Temple, Alleppy." International Journal of Recent Technology and Engineering 8, no. 4S2 (2019): 835–41. http://dx.doi.org/10.35940/ijrte.d1195.1284s219.

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Traditionally built structures have withstood the onslaught of time and weather conditions for thousands of years due to their dexterity in construction and design. Their unique structures and designs have opened up a new genre of architectural discipline. Over the years, globalization and man’s quest for innovative designs and materials have revolutionized the conceptual and architectural practices, which have resulted in the gradual degradation and destruction. The paradigm shift has resulted in losing not only the traditional architectural heritage but also the sustainable practices associa

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34

Basu, Jagannath. "Hasya: Towards a Poetics of the Comic." Rupkatha Journal on Interdisciplinary Studies in Humanities 13, no. 2 (2021). http://dx.doi.org/10.21659/rupkatha.v13n2.37.

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Amidst a whole range of criticism and derision that laughter has received down the ages, the question still lingers: why “One daren’t even laugh any more”? The comic, according to Aristotle, is associated with the ridiculous or the ugly. It constitutes a deformity or an error and leans towards something which is mean. The comedy, on the other hand, is a form of low art consisting of what is base or inferior. This view of the comic and comedy has largely been accepted and forwarded by the West. They have looked down upon the comic with a one-dimensional view of derision and condemnation. As Lis

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35

Phillips, Maggi. "Diminutive Catastrophe: Clown’s Play." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.606.

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IntroductionClowns can be seen as enacting catastrophe with a small “c.” They are experts in “failing better” who perhaps live on the cusp of turning catastrophe into a metaphorical whirlwind while ameliorating the devastation that lies therein. They also have the propensity to succumb to the devastation, masking their own sense of the void with the gestures of play. In this paper, knowledge about clowns emerges from my experience, working with circus clowns in Circus Knie (Switzerland) and Circo Tihany (South America), observing performances and films about clowns, and reading, primarily in E

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36

Curran, Bev. "Portraits of the Translator as an Artist." M/C Journal 4, no. 4 (2001). http://dx.doi.org/10.5204/mcj.1923.

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The effects of translation have been felt in the development of most languages, but it is particularly marked in English language and literature, where it is a highly charged topic because of its fundamental connection with colonial expansion. Britain shaped a "national" literary identity through borrowing from other languages and infected and inflected other languages and literatures in the course of cultural migrations that occurred in Europe since at least the medieval period onward. As Stephen Greenblatt points out in his essay, "Racial Memory and Literary History," the discovery that Engl

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