LEADER 04105nam 2200721 a 450 001 9910495877903321 005 20211008195614.0 010 $a0-520-91088-5 010 $a0-585-13064-7 024 7 $a10.1525/9780520910881 035 $a(CKB)111004366705254 035 $a(dli)HEB09209 035 $a(SSID)ssj0000165853 035 $a(PQKBManifestationID)12001550 035 $a(PQKBTitleCode)TC0000165853 035 $a(PQKBWorkID)10147034 035 $a(PQKB)10805728 035 $a(DE-B1597)569231 035 $a(DE-B1597)9780520910881 035 $a(OCoLC)1198930812 035 $a(dli)HEB90059 035 $a(MiU) MIU01100000000000000000367 035 $a(MiAaPQ)EBC30771821 035 $a(Au-PeEL)EBL30771821 035 $a(EXLCZ)99111004366705254 100 $a20010810d1992 ub 0 101 0 $aeng 135 $aurmnummmmuuuu 181 $ctxt 182 $cc 183 $acr 200 10$aGrounds for play $ethe Nau?a?k? theatre of North India /$fKathryn Hansen 205 $a?A Philip E. Lilienthal Book? , Reprint 2020 210 $aBerkeley $cUniversity of California Press$dc1992 215 $a1 online resource (xvii, 367 p. )$cill., music ; 225 1 $aACLS Humanities E-Book 300 $aBibliographic Level Mode of Issuance: Monograph 311 0 $a0-520-07273-1 320 $aIncludes bibliographical references (p. 337-350) and index. 327 $tFront matter --$tContents --$tList of Illustrations --$tAcknowledgments --$tNote on Transliteration --$tIntroduction --$t1. The Name of the NautankI --$t2. Situating an Intermediary Theatre --$t3. The Landscape of Premodern Performance --$t4. Authors, Akh???s, and Texts --$t5. Kings, Warriors, and Bandits --$t6. Paradigms of Pure Love --$t7. Women's Lives and Deaths --$t8. Melody, Meter, and the Musical Medium --$t9. Conclusion --$tEpilogue --$tThe Kidnapping of Indal (lndal haran) --$tAppendixes --$tNotes --$tBibliography --$tIndex 330 $aThe nautanki performances of northern India entertain their audiences with often ribald and profane stories. Rooted in the peasant society of pre-modern India, this theater vibrates with lively dancing, pulsating drumbeats, and full-throated singing. In Grounds for Play, Kathryn Hansen draws on field research to describe the different elements of nautanki performance: music, dance, poetry, popular story lines, and written texts. She traces the social history of the form and explores the play of meanings within nautanki narratives, focusing on the ways important social issues such as political authority, community identity, and gender differences are represented in these narratives. Unlike other styles of Indian theater, the nautanki does not draw on the pan-Indian religious epics such as the Ramayana or the Mahabharata for its subjects. Indeed, their storylines tend to center on the vicissitudes of stranded heroines in the throes of melodramatic romance. Whereas nautanki performers were once much in demand, live performances now are rare and nautanki increasingly reaches its audiences through electronic media--records, cassettes, films, television. In spite of this change, the theater form still functions as an effective conduit in the cultural flow that connects urban centers and the hinterland in an ongoing process of exchange. 410 0$aACLS Fellows? publications. 606 $aNautanki 606 $aFolk drama, Hindi$xHistory and criticism 606 $aTheater$zIndia 606 $aNautanki$xHistory and criticism$zIndia 606 $aFolk drama, Hindi 606 $aTheater 615 0$aNautanki. 615 0$aFolk drama, Hindi$xHistory and criticism. 615 0$aTheater 615 0$aNautanki$xHistory and criticism 615 0$aFolk drama, Hindi 615 0$aTheater 676 $a792/.0954/1 700 $aHansen$b Kathryn$01015603 712 02$aAmerican Council of Learned Societies. 801 0$bNyNyACL 801 1$bNyNyACL 906 $aBOOK 912 $a9910495877903321 996 $aGrounds for play$92372246 997 $aUNINA