LEADER 04219nam 22005655 450 001 9910300005803321 005 20230814225155.0 010 $a981-13-1177-3 024 7 $a10.1007/978-981-13-1177-2 035 $a(CKB)4100000007111087 035 $a(MiAaPQ)EBC5583574 035 $a(DE-He213)978-981-13-1177-2 035 $a(Au-PeEL)EBL5583574 035 $a(CaPaEBR)ebr11636370 035 $a(OCoLC)1066188654 035 $a(EXLCZ)994100000007111087 100 $a20181103d2018 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aTheatre and National Identity in Colonial India $eFormation of a Community through Cultural Practice /$fby Sharmistha Saha 205 $a1st ed. 2018. 210 1$aSingapore :$cSpringer Singapore :$cImprint: Springer,$d2018. 215 $a1 online resource (183 pages) 311 $a981-13-1176-5 327 $a1. Nation and its Theatre: Towards a Methodology -- Part I Thinking Indian Theatre -- 2. Critical Meanderings: ?Theatre? in Colonial India -- Part II Performing Indian Theatre -- 3. A New Sociability: The Colonial Urbes Prima Goes to the Theatre -- 4. Coming Communities and Vacillating Definitions: The Case of Censorship and Swadeshi Jatra -- 5. The Commune-ist Air?The Case of the IPTA Central Squad -- 6. Epilogue: Indian Theatre: What Are We Talking About? -- Bibliography. 330 $aThis book critically engages with the study of theatre and performance in colonial India, and relates it with colonial (and postcolonial) discussions on experience, freedom, institution-building, modernity, nation/subject not only as concepts but also as philosophical queries. It opens up with the discourse around ?Indian theatre? that was started by the orientalists in the late 18th century, and which continued till much later. The study specifically focuses on the two major urban centres of colonial India: Bombay and Calcutta of the 19th and early 20th centuries. It discusses different cultural practices in colonial India, including the initiation of ?Indian theatre? practices, which resulted in many forms of colonial-native ?theatre? by the 19th century; the challenges to this dominant discourse from the ?swadeshi jatra? (national jatra/theatre) in Bengal, which drew upon earlier folk and religious traditions and was used as a tool by the nationalist movement; and the Indian People?s Theatre Association (IPTA) that functioned from Bombay around the 1940s, which focused on the creation of one national subject ? that of the ?Indian?. The author contextualizes the relevance of the concept of ?Indian theatre? in today?s political atmosphere. She also critically analyses the post-Independence Drama Seminar organized by the Sangeet Natak Akademi in 1956 and its relevance to the subsequent organization of ?Indian theatre?. Many theatre personalities who emerged as faces of smaller theatre committees were part of the seminar which envisioned a national cultural body. This book is an important contribution to the field and is of interest to researchers and students of cultural studies, especially Theatre and Performance Studies, and South Asian Studies. 606 $aTheater 606 $aCultural studies 606 $aDrama 606 $aNational/Regional Theatre and Performance$3https://scigraph.springernature.com/ontologies/product-market-codes/415080 606 $aCultural Studies$3https://scigraph.springernature.com/ontologies/product-market-codes/X22040 606 $aDrama$3https://scigraph.springernature.com/ontologies/product-market-codes/839000 615 0$aTheater. 615 0$aCultural studies. 615 0$aDrama. 615 14$aNational/Regional Theatre and Performance. 615 24$aCultural Studies. 615 24$aDrama. 676 $a792.095409034 700 $aSaha$b Sharmistha$4aut$4http://id.loc.gov/vocabulary/relators/aut$0911806 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910300005803321 996 $aTheatre and National Identity in Colonial India$92041907 997 $aUNINA