Containing more than 700 entries and 250 illustrations, this comprehensive reference tool offers coverage for all of Indian theater, in its various regional languages. The entries focus on topics such as censorship, criticism, architecture, acting, festivals, lighting, mime, individual groups or companies, and genres.
This book addresses the political and aesthetic concerns of modern Indian theatre, propelled by the urban interest in folk theatre and the popularity of Brecht. Just as Brecht's theatre held out the promise of widening the scope of middle-class concerns, of questioning the politics of theatre, and of overcoming the bounds of the proscenium stage, Indian theatre turned to Hindi as the national language of production. What theatrical practice could this newly realized "national" theatre invoke? Was there dramatic composition in modern Hindi, did it have any theatrical tradition? The book delves into the past, to the plays of Bharatendu Harischandra in 1870s Banaras, and forward from there to Jayshankar Prasad and Mohan Rakesh, landmark figures in the history of modern Hindi drama. Also, the use and misuse of "folk" theatre was of significance because it helped in the analysis of Indian theatre makers' understanding of Brecht. The overall focus of the volume is on the politics of modern Indian theatre, particularly the action and reaction inspired by official policy-making in the capital of the country, and its international representation. The last chapter maps some of the routes taken by the avant-garde women directors of the last decade of the 20th century.
This anthology presents three new translations representing an aspect of modern Asian drama as yet unavailable to readers in English: the community-based theaters of Taiwan, working in Chinese languages beyond Mandarin. Community theater (shequ juchang) contrasts with the more mainstream theater that has emerged in Taiwan from the 1980s onward--a theater dominated by male playwrights, centered in the capital city of Taipei, and, despite its roots as an experimental "Little Theater Movement," increasingly commercial and professionalized. Community theater, conversely, maintains the more fluid line between professional and amateur that initially characterized contemporary Taiwan theater; it exists primarily outside of the capital, in regional cities like Tainan; and the driving forces, artistically and administratively, are women. The content of the plays in this anthology reflects that particular gendering of the community theater. Stories of women dominate in Wang Chi-Mei's One Year, Three Seasons and Peng Ya-Ling's We Are Here. Hsu Rey-Fang's The Phoenix Trees are in Blossom also has significant female roles, both fictional and historical. To connect with the local communities, these playwrights seek stories from within those communities, and then contextualize those stories within the larger historical narratives of Taiwan, itself already a "local" element within the broader Chinese culture. Through these dual foci of gender and locality, stories of the women of Taiwan emerge as meaningful elements of Taiwan's modern history. These plays go beyond the walls of the theater spaces, to educate the local, national, and--through translation--international communities about those significant, but often hidden, stories. Well-researched by the playwrights through texts and interviews, these plays can serve as primary documents for courses in Taiwan history and culture, and comparative women's and gender studies, in addition to literature and drama courses.
The first collection of its kind, Inside/Outside: Six Plays from Palestine and the Diaspora brings together work by six dynamic Palestinian playwrights from both occupied Palestine and the Diaspora. These plays take on Palestinian history and culture with irreverence, humor and, above all, an electrifying creativity. Tennis in Nablus by Ismail Khalidi Keffiyeh/Made in China by Dalia Taha Plan D by Hannah Khalil Handala by Abdelfattah Abusrour Territories by Betty Shamieh 603 by Imad Farajin
Carefully selected and represented, the plays in this collection showcase both the fantastic and the realistic innovations of Korean dramatists during a time of rapid social and historical change. Stretching from 1962 to 2004, these seven works tackle major subjects, such as the close of the Choson dynasty and the aftermath of the Korean War, while delving into trenchant cultural issues, such as the marginalization of students who rebel against mainstream education and the role of traditional values in a materialistic society. Longtime scholar of Korea and its vibrant, politically acute theater, Richard Nichols opens with a general overview of modern Korean drama since 1910 and concludes with an appendix describing theater production and audience attendance in Seoul. He chooses works that aren't just for Korean audiences. These texts confront universal themes and situations, tackling the problem of ambition, the trouble with fidelity, and the complexity of sexual and interpersonal relationships. Nichols situates each work critically, historically, and culturally, including brief biographies of playwrights and extensive notes. A bibliography also provides alternative readings and the titles of additional plays currently available in English. Primed for production, these skillful translations provide Western directors with exciting new material for the stage. At the same time, they offer students and scholars a sophisticated survey of the modern Korean dramatic tradition.