This book offers critical and systematic understanding in terms of culture, tradition, relationship, condition of women, search for completeness of his 9 renowned plays for the students of B.A, M.A, Ph.d, and UGC NET, providing dynamic analysis of his writings which both reflect and challenge the periods in which they were produced.
This book is part of a series of books aimed at disseminating the accurate history of India drawn from the primary sources. History writing, especially about the medieval Muslim rule has been fraught with political correctness, controversy, and in several cases, downright falsification. This has occurred mostly with official state patronage. As a result, any attempts to correct this course has been virulently opposed with the result that most urban-educated Indians have now internalized a politically correct version of Indian history. The history of Tipu Sultan too, stands as a glaring instance of this distorted historical narrative. Indeed, we have seen, read, and heard about a lot of people claiming to be freedom fighters and receiving pensions from the Government. Several of these worthies would not have been born before Independence yet they succeed in such blatant manipulations. There are instances of portraying certain rulers and chieftains as true heroes who fought against the British Empire. One such ruler happens to be Tipu Sultan. Tipu Sultan is widely known as the Tiger of Mysore. Indeed, the image of Tipu battling a tiger barehanded crosses the mind whenever his name is mentioned. But is this the truth? Was Tipu Sultan truly the warrior as he has been portrayed? What exactly is his record of fighting the British? Was he really a freedom fighter as is widely claimed? Sandeep Balakrishna in this well-researched book, explores both the myths and the truth surrounding Tipu Sultan. A must-read for those who wish to learn the true story of Tipu Sultan.
This Book Critically Examines Various Themes Viz.Humanism, Identity, Crisis, Literary Genetics, Condensation And Desire For Recognition In The Plays Of Girish Karnad, With A Focus On His Most Representative Play `Hayavadana`.
These plays represent three phases in the career of the dramatist Girish Karnad, all three are classics of the Indian stage. The first play, Tughlaq, is a historical play in the manner of nineteenth-century Parsee theater. The second, Hayavadana was one of the first modern Indian plays toemploy traditional theatrical techniques. In Naga-Mandala, the third play, Karnad turns to oral tales, usually narrated by women. This selected work of one of India's best known playwrights should attract the attention of students and scholars of comparative literature, or any reader interested inSouth Asian literature.
Dramaturgy, in its many forms, is a fundamental and indispensable element of contemporary theatre. In its earliest definition, the word itself means a comprehensive theory of "play making." Although it initially grew out of theatre, contemporary dramaturgy has made enormous advances in recent years, and it now permeates all kinds of narrative forms and structures: from opera to performance art; from dance and multimedia to filmmaking and robotics. In our global, mediated context of multinational group collaborations that dissolve traditional divisions of roles as well as unbend previously intransigent rules of time and space, the dramaturg is also the ultimate globalist: intercultural mediator, information and research manager, media content analyst, interdisciplinary negotiator, social media strategist. This collection focuses on contemporary dramaturgical practice, bringing together contributions not only from academics but also from prominent working dramaturgs. The inclusion of both means a strong level of engagement with current issues in dramaturgy, from the impact of social media to the ongoing centrality of interdisciplinary and intermedial processes. The contributions survey the field through eight main lenses: world dramaturgy and global perspective dramaturgy as function, verb and skill dramaturgical leadership and season planning production dramaturgy in translation adaptation and new play development interdisciplinary dramaturgy play analysis in postdramatic and new media dramaturgy social media and audience outreach. Magda Romanska is Visiting Associate Professor of Slavic Languages and Literatures at Harvard University, Associate Professor of Theatre and Dramaturgy at Emerson College, and Dramaturg for Boston Lyric Opera. Her books include The Post-Traumatic Theatre of Grotowski and Kantor (2012), Boguslaw Schaeffer: An Anthology (2012), and Comedy: An Anthology of Theory and Criticism (2014).
Young Ramchand rushes through the dusty streets of Amritsar, once again late for work. Chastised by his boss, he takes his place among the cottons and silks of the sari shop, selling yards of cloth to the wealthy and fashionable women of the town. Offered a glimpse of a more opulent world, Ramchand is seduced by the idea that he might somehow better himself. But making dreams real will come at a price that a poor shop assistant might not be able to pay ... Funny, compelling and unflinchingly honest, The Sari Shop is a heartbreaking story of a young man's struggle to be someone else and a brilliantly clear-sighted debut.
This book presents a lucid, comprehensive, and entertaining narrative of culture and society in late 19th- and early 20th-century Maharashtra through a perceptive study of its theatre and cinema. An intellectual tour de force, it will be invaluable to scholars and researchers of modern Indian history, theatre and film studies, cultural studies, sociology, gender studies as well as the interested general reader.
