Relevant bibliographies by topics / Theater, india

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theater, india'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Theater, india"

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Akram, M., and P. K. Bhoyar. "Impact of COVID-19 and Online Streaming Services on the Movie Theater." CARDIOMETRY, no. 25 (February 14, 2023): 627–32. http://dx.doi.org/10.18137/cardiometry.2022.25.627632.

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Movie Theaters in India face a big crisis amid COVID-19, which leads to the shutdown of Theaters for more than five months. In the meantime, Online Streaming Services are expanding their business and revenue like never before. This scenario raises the very prominent questions (1) whether the movie theater business will survive this hard time and get back to normal growth and business once COVID-19 cases will reduce. The situation gets back to ‘old normal’. (2) Will Online Streaming services and Movie Theater business co-exist in the future, as Satellite TV and Movie Theater exist for many decades. Based on data from an empirical survey conducted among regular moviegoers, this paper questions the claims of the industry that the Movie Theater business is in danger due to the emergence of online streaming services. It has been observed that the increase in traffic on these online streaming services is mainly because of the lockdown situation, and once theater reopens and the COVID-19 health crisis went, people will get back to Theaters in a large number. Data from the reopening of Theaters in other countries are also showing the same result.
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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 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.
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Swiderski, Richard M., and Ministry of Education and Culture. "Our Cultural Fabric. Puppet Theater in India." Asian Folklore Studies 44, no. 1 (1985): 148. http://dx.doi.org/10.2307/1178000.

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Kotin, Igor Yu, Nina G. Krasnodembskaya, and Elena S. Soboleva. "India of 1920s as Seen by Soviet Playwright, Consulting Indologists, Theater Critics." RUDN Journal of Russian History 20, no. 1 (December 15, 2021): 125–44. http://dx.doi.org/10.22363/2312-8674-2021-20-1-125-144.

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The authors of this contribution analyze the circumstances and the history of a popular play that was staged in the Soviet Union in 1927-1928. Titled Jumah Masjid, this play was devoted to the anti-colonial movement in India. A manuscript of the play, not indicating its title and the name of its author, was found in the St. Petersburg Branch of the Archive of the Russian Academy of Sciences among the papers related to A.M. and L.A. Meerwarth, members of the First Russian Expedition to Ceylon and India (1914-1918). Later on, two copies of this play under the title The Jumah Masjid were found in the Russian Archive of Literature and Art and in the Museum of the Tovstonogov Grand Drama Theatre. The authors of this article use archival and published sources to analyze the reasons for writing and staging the play. They consider the image of India as portrayed by a Soviet playwright in conjunction with Indologists that served as consultants, and as seen by theater critics and by the audience (according to what the press reflected). Arguably, the celebration of the 10th anniversary of the October Revolution in Russia in 1927 and the VI Congress of the Communist International (Comintern) in 1928 encouraged writing and staging the play. The detailed picture of the anti-colonial struggle in India that the play offered suggests that professional Indologists were consulted. At the same time the play is critical of the non-violent opposition encouraged by Mahatma Gandhi as well as the Indian National Congress and its political wing known as the Swaraj Party. The research demonstrates that the author of the play was G.S. Venetsianov, and his Indologist consultants were Alexander and Liudmila Meerwarth.
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Tatarkov, Dmitriy B. "Comparative Analysis of the Use of the Naval Forces of India and Pakistan During the 1971 War." Vestnik of North-Ossetian State University, no. 1(2021) (March 25, 2021): 28–35. http://dx.doi.org/10.29025/1994-7720-2021-1-28-35.

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The destructive processes that are observed in the modern world, the crisis of the world order determine a new round of power confrontation both in the line of global and regional actors of world politics. There is an increase in armed confrontation, the desire to solve old, including territorial, problems by force. The study of the historical experience of the armed confrontation between India and Pakistan actualizes the problem of this paper. The purpose of the article is to analyze and summarize the experience of the use of naval forces during military operations at sea in the Indo-Pakistani war of 1971, to identify the main factors that influenced the planning of naval operations, the course and results of combat operations at sea. The author used a narrative approach and a historical-comparative method to identify the evolution of ideas about the use of naval forces in the Indo-Pakistani conflict of 1971. The article highlights and examines the main factors and their impact on the training and use of naval forces during military operations at sea in the Indo-Pakistani conflict of 1971. Special attention is paid to the assessment of the impact of the political nature of the war, its goals and scale, the views of the military-political and military leadership of India and Pakistan on the training and use of naval forces; the tasks that were solved by the fleets of the parties; the role and place of individual types of forces in solving certain tasks in the theater of operations. To determine factors that directly affect the use of the naval forces of India and Pakistan in the 1971 conflict, the author analyzes the conditions in the Maritime theaters of war, the factors that have characterized the theater, and the impact of conditions in the theater on the planning and implementation of operations. The main sources are archival and analytical materials of the Ministry of Defense of India and the Ministry of Defense of Pakistan, memoirs of war participants.
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Dasgupta, Probal. "The Theater and Classical India: Some Availability Issues." Philosophy East and West 66, no. 1 (2016): 60–72. http://dx.doi.org/10.1353/pew.2016.0016.

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Subrata Saha, Asoke Howlader, Arindam Modak,. "THEATER AND HEALTH EDUCATION: REPRESENTATION IN SELECT PLAYS OF MAHESH DATTANI." Psychology and Education Journal 58, no. 2 (February 1, 2021): 3982–88. http://dx.doi.org/10.17762/pae.v58i2.2668.

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Theater plays a crucial role to represent the life and manners of a particular society. It acts as an informal tool for developing consciousness and promoting empowerment through education. Contemporary theater in India is no exception to this. It has the efficacy to build critical awareness among common people in general and women in particular. It critiques the social inequality and opens up the scope for bringing consciousness about gendered violence prevalent in contemporary Indian society. From 1970s onwards, the emergence of urbanization and industrialization had offered various opportunities for people irrespective of gender differences. Yet, it could not suppress the ‘other side’ of violence in Indian society. Mahesh Dattani, a pioneer in the world of modern Indian English Theater, is highly regarded as a social critic of contemporary urban life and manners. He sincerely presents dysfunctional families, individual dilemmas and societal problems, and gender issues including forbidden issues in his plays. As a conscious dramatist, Dattani reveals childhood maltreatment in his plays which focus on physical and mental illnesses among victims. He tries to sensitize the common people by representing the impact of discrimination on health as it is seen to be fatal in women. The present paper intends to analyze the impact of gender bias on women’s health as represented by Mahesh Dattani in his plays – “Tara” and “Thirty days in September.” In doing so, it embraces the educational implication of dramas through theater.
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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 successful in synthesizing heterogeneous theatrical traditions in his lyrical plays. The Indian People’s Theatre Association (IPTA), an all-India organization of progressive writers-artists-activists, was established in Mumbai (Bombay) in 1943, played a significant role in creating the new cultural expression in the map of colonial Bengali theatre. Also, after obtaining independence in 1971, the theatre artists of Bangladesh sought a new language of performance in the urban theater, which would embody the people’s lives, hopes, and dreams. Eventually, the national cultural movement emerged in the decade of 90s in the last century. The movement was called the “Theatre of Roots”, which attempted to synthesize the traditional elements with the Western forms and enjoyed great popularity. Therefore, the article analyzes the play Wheel by Selim Al Deen, directed by Syed Jamil Ahmed, the most significant examples of the “Theatre of Roots” movement. In the study of this production, an analysis of the artistic process of synthesis of traditions in the modern urban theatre of Bangladesh is carried out.
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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.

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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.
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Roy, Oliva. "Contentious Politics, State Repression and Civil Dissidence: The Discourse of Resistance in Utpal Dutt’s Nightmare City." Journal of Foreign Languages and Cultures 7, no. 1 (June 28, 2023): 103–13. http://dx.doi.org/10.53397/hunnu.jflc.202301011.

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In the Post-Independence era, the prolific playwrights of India started using the aesthetic form of theater to contest authoritarian structures, and to voice their anti-establishment dissent. Utpal Dutt, a pioneering figure in Modern Indian Theater, used the medium of drama for propaganda and political conscientization of the oppressed. The indefatigable thespian contributed significantly towards the formation of modern Bengali theater, as his plays voiced his intransigent protest against the authoritarian government and concurrently, showed his impressive experimentation with different dramatic techniques, theatrical devices and theatrical genres. Dutt’s anti-establishment play, Nightmare City presents a fastidious account of the turbulent years of late-1960s and early-1970s Bengal gripped by Naxalite violence and police brutalism. Set against the backdrop of Naxalite insurgency, the play savagely exposes the ideological hypocrisy of the autocratic government leaders of the time and their violent hooliganism. However, the playwright, in sync with his earlier plays, has not only portrayed the tumultuous socio-political ambiance of the 70s Calcutta, but has also constructed a soul-shattering voice of resistance to the political oppressions perpetuated by the state apparatuses. The objective of this paper is to study the revolutionary propaganda of Dutt and redefine his concept of “political theater” with special reference to his intricately structured political satire, Nightmare City.
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Dissertations / Theses on the topic "Theater, india"

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Mehta, Gouri Nilakantan. "Enacting New Spatial Contexts: Pan Indian Identity of Female Performers of Seraikela and Mayurbhanj Chhau." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1091823201.

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Chowdhury, Khairul Haque. "Three Bangladeshi plays considered in postcolonial context." Access E-Book Access E-Book, 1999. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20010919.141455/index.html.

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Soneji, Davesh. "Performing Satyabhāmā : text, context, memory and mimesis in Telugu-speaking South India." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85029.

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Hindu religious culture has a rich and long-standing performance tradition containing many genres and regional types that contribute significantly to an understanding of the living vitality of the religion. Because the field of religious studies has focused on texts, the assumption exists that these are primary, and performances based on them are mere enactments and therefore derivative. This thesis will challenge this common assumption by arguing that performances themselves can be constitutive events in which religious worldviews, social histories, and group and personal identities are created or re-negotiated. In this work, I examine the history of performance cultures (understood both as genres and the groups that develop and perform them) in the Telugu-speaking regions of South India from the sixteenth century to the present in order to elucidate the cross-fertilization among various performance spheres over time.
My specific focus is on the figure of Satyabhama (lit. True Woman or Woman of Truth), the favourite wife of the god Kṛṣṇa. Satyabhama represents a range of emotions, which makes her character popular with dramatists and other artists in the Telugu-speaking regions of South India where poets composed hundreds of performance-texts about her, and several caste groups have enacted her character through narrative drama.
The dissertation is composed of four substantive parts - text, context, memory, and mimesis. The first part explores the figure of Satyabhama in the Mahabharata and in three Sanskrit Puraṇic texts. The second examines the courtly traditions of poetry and village performances in the Telugu language, where Satyabhama is innovatively portrayed through aesthetic categories. The third is based on ethnographic work with women of the contemporary kalavantula (devadasi) community and looks at the ways in which they identify with Satyabhama and other female aesthetic archetypes (nayikas). The final section is based on fieldwork with the smarta Brahmin male community in Kuchipudi village, where men continue to perform mimetic representations of Satyabhama through a performative modality known as stri-veṣam ("guise of a woman").
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Ehrman, James M. "Ways of war and the American experience in the China-Burma-India theater, 1942-1945 /." Search for this dissertation online, 2006. http://www.lib.umi.com/cr/ksu/main.

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Lelanuja, Orada. "Savitri - From Epic Poem to Stage Plays: Translation and Adaptation, Translation Issues, and the Passage From India." Connect to this document online, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1123094121.

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Thesis (M.A.)--Miami University, Dept. of Theatre, 2005.
Title from first page of PDF document. Document formatted into pages; contains [1], ii, 129 p. : ill. Includes bibliographical references (p. 127-129).
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Kolekar, Pramila. "Dreamscapes: Blurred Realities and Blended Identities; India on the Nineteenth-century French Stage." Thesis, Boston College, 2018. http://hdl.handle.net/2345/bc-ir:107939.

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Thesis advisor: Kevin Newmark
India featured in a large number of performances on the nineteenth-century French stage. The term “contact zones” coined by Mary Louise Pratt in her article “Arts of the Contact Zone” designates spaces where two cultures “meet, clash, and grapple with each other” (34). The nineteenth-century French stage functioned as an ideal contact zone, providing a dynamic forum for the construction of French and Indian identities. My corpus is selected to demonstrate the breadth and diversity of India as a trope in nineteenth-century theatrical performances. In the dissertation, I analyze the plays both as text and performance. In addition, I situate the plays within the context of their time. Theater reviews are an important tool in achieving this contextualization: they allow a play to be studied in situ, giving a glimpse of the social, political, and cultural circumstances surrounding the production. The effects of a turbulent political and social environment are studied by investigating shifts in audience reactions to the same play or to a similar one over a period of time. The study considers an author’s avowed intentions, as recorded in an accompanying preface, along with both the text of the play and the audience response chronicled in press reviews, to see if intention, expression, and reception coincide. The effort is to understand the play as a dynamic event that occurs simultaneously in two directions. On the one hand, the play is shaped by its environment; on the other, it works to inform and influence the audiences who witness it. The nuanced interaction between the Self and the Other is rendered more visible through this approach. With the support of colonial and post-colonial theories such as Orientalism, subalterneity, and hybridity, the issues that are disclosed in this analysis of nineteenth-century French theater are rendered current and relevant. The dissertation is composed of three main chapters. Each chapter is unified in theme, viz. Historical drama, Bayadères, and Sanskrit drama. Different plays with similar themes or different adaptations of the same play are compared to each other. Shifts in time and perspective are recorded, both in the creation as well as the reception of these plays. The treatment of stereotypes is studied in all three chapters. In addition, for each chapter, a specific issue that is particular to that section of the corpus is highlighted: problems of veracity in ostensibly factual historical accounts for Historical drama, the challenges of reconciling reality with imagination (contrasting the actual visit of Indian dancers in France to the theatrical representations of bayadères) for the chapter on bayadères, and challenges of translation for Sanskrit drama. This reveals the complex underpinnings of plays that could appear banal at first glance. The dissertation unfolds the manner in which the French contend with India in the role of the Other during the nineteenth century, when interest in India was at its peak in France. Even when reduced to a finite number of stereotypes, India is perceived as a space of excess; its complex and multifaceted nature is exacerbated by its size and distance from France. India is found to be overwhelming and beyond the reach of French possession, physical or ideological. India cannot be easily co-opted into French narratives of identity-formation: any construction of national, racial or cultural identity, whether of the French Self or the Indian Other, is shown to be unstable. Over the course of the nineteenth century, India reverts to being the place of myth and fantasy it has been since medieval times. Nevertheless, traces of India’s presence on the nineteenth-century stage linger in twenty-first century France in subtle but unmistakable ways
Thesis (PhD) — Boston College, 2018
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures
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Hurlstone, Lise Danielle. "Performing Marginal Identities: Understanding the Cultural Significance of Tawa'if and Rudali Through the Language of the Body in South Asian Cinema." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/154.

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This thesis examines the representation of the lives and performances of tawa'if and rudali in South Asian cinema to understand their marginalization as performers, and their significance in the collective consciousness of the producers and consumers of Indian cultural artifacts. The critical textual analysis of six South Asian films reveals these women as caste-amorphous within the system of social stratification in India, and therefore captivating in the potential they present to achieve a complex and multi-faceted definition of culture. Qualitative interviews with 4 Indian classical dance instructors in Portland, Oregon and performative observations of dance events indicate the importance of these performers in perpetuating and developing Indian cultural artifacts, and illustrate the value of a multi-layered, performative methodological approach. These findings suggest that marginality in performance is a useful and dynamic site from which to investigate the processes of cultural communication, producing findings that augment sole textual analysis.
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Rowe, Julisa. "A guide to ethnodramatology developing culturally appropriate drama in cross-cultural Christian communication : a comparative study of the dramas of Kenya, India and the United States /." Theological Research Exchange Network (TREN), 2004. http://www.tren.com.

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Srampickal, Jacob J. "Popular theatre as a medium for conscientization and development in India." Thesis, University of Leeds, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235621.

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Roy, Sylee. "'City plays' : a study of urban theatre in India since the 1970s." Thesis, University of North Bengal, 2021. http://ir.nbu.ac.in/handle/123456789/4801.

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Books on the topic "Theater, india"

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Burkhart, Louise M., Barry D. Sell, and Gregory Spira. Nahuatl theater. Norman: University of Oklahoma Press, 2004.

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Ahuja, Chaman. Theatre thinking in India. New Delhi: Pragun Publication, 2011.

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Gaurīnātha, Dvivedī, ed. Jananāṭya kā ātmasaṅgharsha. Paṭanā: Pāṭaliprabhā Prakāśana, 1995.

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1955-, Lal Ananda, ed. Theatres of India: A concise companion. New Delhi: Oxford University Press, 2009.

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Chattopadhyay, Siddheswar. Theatre in ancient India. New Delhi: Manohar Publications, 1993.

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Chatterjee, Sudipto. The colonial staged: Theatre in colonial Calcutta. Calcutta: Seagull Books, 2007.

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Lata, Singh, ed. Theatre in colonial India: Play-house of power. New Delhi: Oxford University Press, 2009.

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Lata, Singh, ed. Theatre in colonial India: Play-house of power. New Delhi: Oxford University Press, 2009.

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Lata, Singh, ed. Theatre in colonial India: Play-house of power. New Delhi: Oxford University Press, 2009.

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Singh, Lata. Play-house of power: Theatre in colonial India. New Delhi: Oxford University Press, 2009.

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Book chapters on the topic "Theater, india"

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Doshi, Neil. "Absent Performances: Distant Fieldwork on Social Movement Theater of Algeria and India." In Theorizing Fieldwork in the Humanities, 109–29. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-349-92834-7_6.

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Trivedi, Poonam. "Garrison Theatre in Colonial India." In Theatre History and Historiography, 103–20. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/9781137457288_6.

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Prateek. "The bends versus ends of Brechtian theatre." In Brecht in India, 137–74. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003030317-6.

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Prateek. "Towards a definition of Brechtian theatre in India." In Brecht in India, 28–63. Abingdon, Oxon ; New York : Routledge, 2021.: Routledge, 2020. http://dx.doi.org/10.4324/9781003030317-2.

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O'Brien, Nick, Annie Sutton, and Mikhaela Mahony. "Acting with Indira Varma." In Theatre in Practice, 296–303. 3rd ed. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003361121-14.

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Chevallier, Jean-Frédéric. "Why Deleuze spoke so little about theatre?" In Deleuze, Guattari and India, 238–50. London: Routledge India, 2021. http://dx.doi.org/10.4324/9781003217336-16.

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Saha, Sharmistha. "Critical Meanderings: ‘Theatre’ in Colonial India." In Theatre and National Identity in Colonial India, 19–46. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-1177-2_2.

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Filacanapa, Giulia, Katrien van Beurden, and Chandana Sarma. "Theatre Hotel Courage's journey in India." In Commedia dell'Arte for the 21st Century, 120–30. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003142843-12.

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Shivaprakash, H. S., and J. Sreenivasa Murthy. "Migration and Ancient Indian Theatre." In The Palgrave Handbook of Theatre and Migration, 183–94. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-20196-7_14.

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Naidu, G. V. C. "India, the Indo-Pacific and the Quad." In The Indo-Pacific Theatre, 73–88. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003342311-6.

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Conference papers on the topic "Theater, india"

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BELLEAU, Sylvie. "The Otherness through Le rêve d’Urmila (Urmila’s Dream), an Interdisciplinary and Intercultural Research Creation Doctoral Project through Natyashastra." In The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0016.

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This communication will present how research creation based doctoral project can be an opportunity to explore the Otherness and other disciplines, to open to new realms of research as well as to question the artist’s posture in his journey between the culture of origin and the culture of the discipline in which he trains. As an apprentice, I studied kathakali in South India in my early twenties and it influenced all my theatre practice. The dance-theatre of Kerala has been part of my creative tools since the beginning of my creative life as a professional stage artist. My doctoral research was a way to question the footprint of the kathakali training in a creation project, to deepen my knowledge of Indian theatre and to explore the connections between kathakali, Natyasastra, the classical Indian treaty of dramaturgy, and my doctoral creation, Le rêve d’Urmila, which has been presented in September 2018 at Université Laval, in Quebec City. As part of my doctoral research on cultural hybridity, I had to train a group of western artists to dance and play with the codes of Indian dance to reach the level of cultural and disciplinary competence needed to produce the doctoral creation. I will thus present the specificities of the training process and expose the ways in which we explored various elements of the kathakali performance: the four abhinaya, rhythmic and musical elements, etc.
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2

Azlina, Syarul, and Zolkipli Abdullah. "The Identity of Indie Theatre in the Advancement of Malaysian Plays." In Proceedings of the First Nommensen International Conference on Creativity & Technology, NICCT, 20-21 September 2019, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296604.

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Vijayan, Malavika, and Saamarthya Dobhal. "AasaNatak - Assisting Amateur theatre groups through live performance tracking and group management." In IndiaHCI 2020: 11th Indian Conference on Human-Computer Interaction. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3429290.3429308.

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Pramod, K., Jui Lagoo, and Bindu George. "Perception of Operation Theatre Personnel about Attributes Contributing to the Constitution of a Competent Anaesthetist: A Qualitative Study." In ISACON KARNATAKA 2017 33rd Annual Conference of Indian Society of Anaesthesiologists (ISA), Karnataka State Chapter. Indian Society of Anaesthesiologists (ISA), 2017. http://dx.doi.org/10.18311/isacon-karnataka/2017/fp065.

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5

Marushiakova, Elena, and Vesselin Popov. "Images and Symbols of the Gypsies (Roma) in the Early USSR." In GLOCAL Conference on Asian Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/cala2022.6-2.

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The October Revolution and the subsequent creation of the USSR, located on a vast area in Eurasia, was a spectacular historical attempt to create a ‘new society,’ characterised by radical changes in all social and cultural spheres, as well as the creation of new, Soviet symbolisms. This general historical context reflected on all spheres of life, including the state policy towards the Gypsies (labelled today as Roma), which was particularly active in the 1920s and 1930s. The name ‘Gypsies,’ which was used at that time, is more appropriate in our case, because in this general category, in addition to Roma (living scattered throughout the USSR), several other communities either did not identify as Roma or were not Roma by origin (Dom and Lom in the South Caucasus region, and the Lyuli or Jugi in Central Asia), but all shared Indian origin. Soviet policy towards the Gypsies had various dimensions, including codification of the Romani language, creation of Gypsy national literature and of a Gypsy national theater, Gypsy schools, Gypsy collective farms, and artisan’s artels. Along with this, new public images and symbolisms related to the Gypsies were created, and were presented in various forms in the USSR itself and broadcast to the West for propaganda. The new Soviet Gypsy symbolisms, were, using Stalin’s popular formulation of Soviet literature as an analogy, ‘national in form and socialist in content.’ Based on this formulation, the two main directions in which these images and symbols were developed and popularised were determined – firstly, based on the ancient social and cultural traditions of the Gypsies, and, secondly, in the presentation of the new, socialist dimensions which were occurring in their lives. In the synopsis, we will analyse examples of public images and symbols, distributed through various channels – photographs in the press (Gypsy and mainstream), the layout and illustrations of books, posters, stage plays, movies, etc. – covering both indicated directions. At the same time, we reveal how this new symbolism affected the Gypsy community and Soviet society as a whole, as well as a wider dimension, outside the USSR, including that of the present-day. Part of this symbolism (of the first type) is presently used, in a modified form, in digital spaces, mostly by various Roma organisations worldwide creating a new virtual world of Pan-Roma unity.
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Macken, Jared. "The Ordinary within the Extraordinary: The Ideology and Architectural Form of Boley, an “All-Black Town” in the Prairie." In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.63.

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In 1908, Booker T. Washington stepped off the Fort Smith and Western Railway train into the town of Boley, Oklahoma. Washington found a bustling main street home to over 2,500 African American citizens. He described this collective of individuals as unified around a common goal, “with the definite intention of getting a home and building up a community where they can, as they say, be ‘free.’” The main street was the physical manifestation of this idea, the center of the community. It was comprised of ordinary banks, store front shops, theaters, and social clubs, all of which connected to form a dynamic cosmopolitan street— an architectural collective form. Each building aligned with its neighbor creating a single linear street, a space where the culture of the town thrived. This public space became a symbol of the extraordinary lives and ideology of its citizens, who produced an intentional utopia in the middle of the prairie. Boley is one of more than fifty “All-Black Towns” that developed in “Indian Territory” before Oklahoma became a state. Despite their prominence, these towns’ potential and influence was suppressed when the territory became a state in 1907. State development was driven by lawmaker’s ambition to control the sovereign land of Native Americans and impose control over towns like Boley by enacting Jim Crow Laws legalizing segregation. This agenda manifests itself in the form and ideology of the state’s colonial towns. However, the story of the state’s history does not reflect the narrative of colonization. Instead, it is dominated by tales of sturdy “pioneers” realizing their role within the myth of manifest destiny. In contrast, Boley’s history is an alternative to this myth, a symbol of a radical ideology of freedom, and a form that reinforces this idea. Boley’s narrative begins to debunk the myth of manifest destiny and contrast with other colonial town forms. This paper explores the relationship between the architectural form of Boley’s main street and the town’s cultural significance, linking the founding community’s ideology to architectural spaces that transformed the ordinary street into a dynamic social space. The paper compares Boley’s unified linear main street, which emphasized its citizens and their freedom, with another town typology built around the same time: Perry’s centralized courthouse square that emphasized the seat of power that was colonizing Cherokee Nation land. Analysis of these slightly varied architectural forms and ideologies reorients the historical narrative of the state. As a result, these suppressed urban stories, in particular that of Boley’s, are able to make new contributions to architectural discourse on the city and also change the dominant narratives of American Expansion.
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