Hinduism And Hindi Theater
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|Author||: Diana Dimitrova|
This book explores the representation of Hinduism through myth and discourse in urban Hindi theatre in the period 1880-1960. It discusses representative works of seven influential playwrights and looks into the ways they have imagined and re-imagined Hindu traditions. Diana Dimitrova examines the intersections of Hinduism and Hindi theatre, emphasizing the important role that both myth and discourse play in the representation of Hindu traditions in the works of Bharatendu Harishcandra, Jayshankar Prasad, Lakshminarayan Mishra, Jagdishcandra Mathur, Bhuvaneshvar, Upendranath Ashk, and Mohan Rakesh. Dimitrova’a analysis suggests either a traditionalist or a more modernist stance toward religious issues. She emphasizes the absence of Hindi-speaking authors who deal with issues implicit to the Muslim or Sikh or Jain, etc. traditions. This prompts her to suggest that Hindi theatre of the period 1880-1960, as represented in the works of the seven dramatists discussed, should be seen as truly ‘Hindu-Hindi’ theatre.
|Author||: Diana Dimitrova|
|Editor||: McGill-Queen's Press - MQUP|
"In Gender, Religion and Modern Hindi Drama Dimitrova studies the representation of gender and religion in Hindi drama from its beginnings in the second half of the nineteenth century until the 1960s." "Dimitrova focuses on how different religious and mythological models pertaining to women have been reworked in Hindi drama and on whether the dramatists discussed present conservative of liberating Hindu images of the feminine."--Résumé de l'éditeur.
|Author||: Diana Dimitrova|
|Editor||: Peter Lang|
Western Tradition and Naturalistic Hindi Theatre is a critical study of the dramatic work of naturalistic Hindi playwright Upendranath Ashk (1910-1996). The book explores modern Hindi drama from its beginnings in the second half of the nineteenth century until the 1960s. During this period, proscenium Hindi theatre, which originated under Western influence, matured and thrived. In the years after Independence, there was a strong resentment of Western ideas and cultural influence. Because of political controversies with the British, «Western» influence also came to be understood as «non-Indian» in the sphere of literature. This resulted in a negative stance toward the naturalistic play of Hindi and those dramatists who adhered to it. Thus, this book is a contribution to the present-day cultural dialogue between East and West.
|Author||: Yves Thoraval|
|Editor||: South Asia Books|
A comprehensive guide to wade through the world of Indian cinema, from 1896 to 2000, this book, an enlarged edition of the original FR title, Les Cinemas de L lnde , presents its multiple regional facets illustrated by filmmakers that the world is no
|Author||: Sangita Gopal|
|Editor||: University of Chicago Press|
Bollywood movies have been long known for their colorful song-and-dance numbers and knack for combining drama, comedy, action-adventure, and music. But when India entered the global marketplace in the early 1990s, its film industry transformed radically. Production and distribution of films became regulated, advertising and marketing created a largely middle-class audience, and films began to fit into genres like science fiction and horror. In this bold study of what she names New Bollywood, Sangita Gopal contends that the key to understanding these changes is to analyze films’ evolving treatment of romantic relationships. Gopalargues that the form of the conjugal duo in movies reflects other social forces in India’s new consumerist and global society. She takes a daring look at recent Hindi films and movie trends—the decline of song-and-dance sequences, the upgraded status of the horror genre, and the rise of the multiplex and multi-plot—to demonstrate how these relationships exemplify different formulas of contemporary living. A provocative account of how cultural artifacts can embody globalization’s effects on intimate life, Conjugations will shake up the study of Hindi film.
|Author||: Poonam Trivedi,Dennis Bartholomeusz|
|Editor||: University of Delaware Press|
This is a collection on the diverse aspects of the interaction between Shakespeare and India, a process embedded in the contradictions of colonialism - of simultaneous submission and resistance. The essays, grouped around the key issues of translation, interpretation, and performance, deal with how the plays were taught, translated, and adapted, as well as the literary, social, and political implications of this absorption into the cultural fabric of India. They also look at the other side, what India meant to Shakespeare. Further, they document how the performance of Shakespeare both colonized and catalyzed Indian theater - being staged in English in schools, in translation in various parts of the country, through acculturation into indigenous theater forms and Hindi cinema. The book highlights, and thus rereads, not just one of the longest and most widespread interactions between a Western author and the East but also part of the colonial and postcolonial history of India. Poonam Trivedi is a Reader in English at Indraprastha College, University of Delhi. Now retired, Dennis Bartholomeusz was Reader in English literature at Monash University in Melbourne.
|Author||: Aparna Bhargava Dharwadker|
|Editor||: University of Iowa Press|
Theatres of Independence is the first comprehensive study of drama, theatre, and urban performance in post-independence India. Combining theatre history with theoretical analysis and literary interpretation, Aparna Dharwadker examines the unprecedented conditions for writing and performance that the experience of new nationhood created in a dozen major Indian languages and offers detailed discussions of the major plays, playwrights, directors, dramatic genres, and theories of drama that have made the contemporary Indian stage a vital part of postcolonial and world theatre.The first part of Dharwadker's study deals with the new dramatic canon that emerged after 1950 and the variety of ways in which plays are written, produced, translated, circulated, and received in a multi-lingual national culture. The second part traces the formation of significant postcolonial dramatic genres from their origins in myth, history, folk narrative, sociopolitical experience, and the intertextual connections between Indian, European, British, and American drama. The book's ten appendixes collect extensive documentation of the work of leading playwrights and directors, as well as a record of the contemporary multilingual performance histories of major Indian, Western, and non-Western plays from all periods and genres. Treating drama and theatre as strategically interrelated activities, the study makes post-independence Indian theatre visible as a multifaceted critical subject to scholars of modern drama, comparative theatre, theatre history, and the new national and postcolonial literatures.
|Author||: Charlie Mitchell|
|Editor||: Orange Groove Books|
"From the University of Florida College of Fine Arts, Charlie Mitchell and distinguished colleagues form across America present an introductory text for theatre and theoretical production. This book seeks to give insight into the people and processes that create theater. It does not strip away the feeling of magic but to add wonder for the artistry that make a production work well." -- Open Textbook Library.
|Author||: Hafizullah Baghban|
|Author||: Ananda Lal,Reader in English Ananda Lal|
|Editor||: Oxford University Press, USA|
This Encyclopedic Volume Is The First Of Its Kind In Any Language Covering All Of Indian Theatre. Lavishly Illustrated, With Some Rare Photographs From Archival Collections.
|Author||: Gurbir Singh Jolly,Zenia B. Wadhwani,Deborah Barretto|
|Editor||: Tsar Publications|
Cultural Writing. Film Studies. Asian Studies. Edited by Gurbir Jolly, Zenia Wadhwani, and Deborah Barretto. ONCE UPON A TIME IN BOLLYWOOD presents an extravaganza of essays on globalization and contemporary Hindi cinema ("Bollywood"). The wide-ranging analytic strategies in the collection--including ethnographic self-reflection, literary comparison, economic contextualization, and biographic study--bear witness to Hindi cinema's aesthetically elaborate and politically entangled treatment of postcolonial concerns. Together, these essays invite fresh, critically informed engagements with many of the key issues and creative tensions that continue to shape the world's most prolific film industry. For connoisseurs and critics of Hindi cinema alike, ONCE UPON A TIME IN BOLLYWOOD presents stirring insights into popular culture.