Stages of Life: Indian Theatre Autobiographies (2025)

Stages of Life: Indian Theatre Autobiographies, Chapter 1

Chapter 1, "Pioneers to Professionals: A Retrospective of the Parsi Theatre," narrates the evolution of the theatre between 1853 and 1931. It is excerpted from the 2013 revised edition of the book. The book was published originally by Permanent Black in India and republished by Anthem Press in the UK. It is also available as an ebook from Anthem.

Modern Indian Theatre: A Reader edited by Nandi Bhatia

Asian Theatre Journal, 2011

Some writings pertaining to contemporary Theater in India

Theatres of Independence: Drama, Theory, and Urban Performance in Indian since 1947; Poetics, Plays, and Performances: The Politics of Modern Indian Theatre

Comparative Studies of South Asia, Africa and the Middle East, 2006

Review of: Indian Drama in English: The Beginnings

Asian Theatre Journal, 2022

Theatre Research and Publication in India: An Overview of the Post-independence Period

Theatre Research International, 2010

This article offers an overview of theatre research and publication in India. It comes in two parts. The first examines theatre research post-independence (1947) up until the 1990s – a period of new economic thinking and a liberalization of sociocultural values. The second focuses on theatre research and publications from 2000 onwards, identifying ways in which more recent scholarship has been concerned with the concept of modernity in theory and practice; has begun to address questions of form, style, space and performativity; and has explored urgent social issues. What emerges in this overview is a feel for how complex the field of theatre research is in India given its multiculturalism. In concluding it draws attention to current and future challenges for theatre and theatre scholarship posed by issues such as globalization, communalism, terrorism and religious fundamentalism.

A CRITICAL OVERVIEW OF THE EVOLUTION OF INDIAN THEATRE AND THE DEPICTION OF FEMINIST CONCERNS

Indian writers have written excellent prose, composed poems and written in English for more than a century, but it was not earlier than the thirties and forties that a suitable and systematic attempt was made to view their output as an independent literature and not a mere part of Anglo-Indian literature. It is, however, only after Independence that the volume of Indian writing in English has gone up considerably, and the need for its critical evaluation has become more urgent than ever before. When it comes to the early form of theatre, it featured various kinds of performances, often in the narrative form with singing, dancing, and reciting. The first significant contribution to Indian theatre was made by Bharata Muni, who authored the thirty-six books of "The Natyashastra". It is a theoretical description of theatrical performance, elucidating its style and motion. While the amateur movement gave way to the drama school theatre, towards the turn of the century, some existing active troupes turned into semi-professional drama schools with the help of amateurs. They continued to keep the theatre scene operative. Prayoga Ranga (Bangalore), Lokadharmi (Kochi) and Sopanam (Trivandrum) are examples of this trend. This article attempts to encapsulate the evolutional of Indian literary landscape with special emphasis on the evolution and growth of theatre and women playwrights. Traditionally women have never had, nor were allowed a voice of their own. "Because a woman has patience, she is not allowed to speak; And she never learns the words" is said by the narrator in the play Mangalam by Poile Sengupta. One of the major concerns of this study is to analyse a new trend in theatre-the Theatre of Protest and showcase its relevance in the plays of Poile Sengupta, one of the foremost contemporary Indian playwrights.

Theatre as Social Critique in Select Nineteenth-Century Indian Plays

Theatre as Social Critique, 2023

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 (also spelt as Krishna Mohana Banerjea) The Persecuted and Michael Madhusudan Dutt's Ekei Ki Bole Sabbhyata? [Is This Called Civilization?] are two plays that represent the so-called colonial modernity and show how changes were taking place in the society in the colonial period in Bengal. The characters from two generations, the older following the traditional ways and the younger ones following Englishness, depict a confrontation of two civilizations. Ideologies, worldviews and new habits are formed among the youths, which are despised by the elders. The plays, thus, question the modern ways, that, if they really mean a civilization. This article attempts to show how the plays can be read as social critique at par with comedy of humours and comedy of manners.

Theatre as Social Critique: Reflections in Select Nineteenth-Century Indian Plays

SCHOLARS: Journal of Arts & Humanities, 2022

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 (also spelt as Krishna Mohana Banerjea) The Persecuted and Michael Madhusudan Dutt’s Ekei Ki Bole Sabbhyata? [Is This Called Civilization?] are two plays that represent the so-called colonial modernity and show how changes were taking place in the society in the colonial period in Bengal. The characters from two generations, the older following the traditional ways and the younger ones followin...

2019. (with Aparna Dharwadker and Vinay Dharwadker). "The Playwright and the Stage," translation of Mohan Rakesh's "Natkar aura Rangmanc," in A Poetics of Modernity: Indian Theatre Theory, 1860 to the Present. Ed. Aparna Dharwadker. Delhi: Oxford University Press.

The Playwright and the Stage, 2019