INDIAN DRAMA IN ENGLISHKaustav Chakraborty (PhD) is Assistant Professor, Department of English, Southfield (formerly Loreto) College, Darjeeling, West Bengal. He has authored one book and also edited a volume of critical essays. Dr. Chakraborty has contributed many articles in reputed national journals and anthologies. This edited volume on Indian Drama in English, including Indian plays in English translation, with contributions from experts specializing on the different playwrights, covers the works of major dramatists who have given a distinctive shape to this enormous mass of creative material. This comprehensive and well-researched text, in its second edition, continues to explore the major Indian playwrights in English. It encompasses works like Rabindranath Tagore’s Red Oleanders; Vijay Tendulkar’s Silence! The Court is in Session, Kanyadaan, The Vultures, and Kamala; Girish Karnad’s Hayavadana, Tughlaq, Naga Mandala, and The Fire and the Rain; Mahasweta Devi’s The Mother of 1084; Mahesh Dattani’s Final Solutions, Tara, Dance Like a Man, and Bravely Fought the Queen; Habib Tanvir’s Charandas Chor; Indira Parthasarathy’s Auranzeb; and Badal Sircar’s Evam Indrajit. The book focuses on different aspects of their plays and shows how the Indian Drama in English, while maintaining its relation with the tradition, has made bold innovations and fruitful experiments in terms of both thematic and technical excellence. New to This Edition The new edition incorporates two new essays on very popular plays of all times—one, Manipuri dramatist Ratan Thiyam’s Chakravyuh, and the second, Maharashtrian playwright, Mahesh Elkunchwar‘s Desire in the Rocks. The essays added give a panoramic view of the plays in succinct style and simple language. The book is intended for the undergraduate and postgraduate students of English literature. Besides, it will also be valuable for those who wish to delve deeper into the plays covered and analyzed in the text. |
Contents
1 | |
A Thematic Study | 19 |
Chapter 3 Translation of Symbols and Other Tropes and
Schemes in Red Oleanders | 31 |
Samant in Silence
The Court is in Session | 53 |
Legal Institutionalization
of a Womans Victimization | 68 |
Critiquing Womens
Position in Indian Society through Tendulkars
Silence The Court is in Session ... | 74 |
Negotiating Social
Truths | 82 |
A Study in Violence | 96 |
Chapter 20 Terrors of Immortality in Girish Karnads
The Fire and the Rain | 240 |
Political Drama Redefined | 250 |
Rereading
Mahasweta Devis Mother of 1084 | 255 |
A Reconsideration | 264 |
An Analysis of
Final Solutions | 279 |
Writing the Contested
Body in Dattanis Tara | 288 |
Chapter 26 Form and Content in Mahesh Dattanis Dance
Like a Man | 296 |
Revisiting the Title | 303 |
An Interface
between Feminist Critique and Existential Angst | 102 |
The Infusion of Family
Gender and Social Opportunism in
Vijay Tendulkars Kamala ... | 122 |
Chapter 11 Girish Karnads Hayavadana Revisited | 130 |
A Theatregoers Response | 157 |
Chapter 13 Casteism and Karnads Hayavadana | 175 |
Reading Tughlaq as
a Medley of Voices and Conflicting Personas
in Girish Karnads Tughlaq ... | 187 |
Chapter 15 And Why should I Deserve that Madness?
The Strange Case of Karnadian Tughlaq ... | 199 |
A Reading into Girish Karnads Naga Mandala | 205 |
Chapter 17 Desires from the World beyond and the Women
in Naga Mandala | 219 |
Girish Karnads The Fire and the Rain | 226 |
Chapter 19 Fire and Rain in The Fire and the Rain | 236 |
A Reading of Dattanis Bravely
Fought the Queen | 319 |
Reimagining the Folk | 334 |
Chapter 30 Rereading Indira Parthasarathys Aurangzeb
as ReligioPolitical Diatribe Beneath a
Historical Façade ... | 341 |
Indias First Authentic Voice | 351 |
Towards a
New Hermeneutics of Entrapment and
Alienation | 360 |
An Appraisal of Badal Sircars Evam Indrajit | 367 |
Chapter 34 The Poetics of Protest in Ratan Thiyams
Chakravyuha | 388 |
Stereotyping
the Destereotype in Elkunchwars Desire in
the Rocks | 406 |
415 | |
419 | |
Common terms and phrases
Abhimanyu action Appanna Arvasu audience Aurangzeb Award Badal Sircar Barani becomes Benare Benare’s Bengali Bhagavata Bishu body Brahma Rakshasa Brahmin Brati caste Chakravyuha characters Charandas contemporary critical cultural Currimbhoy Dalit dance death Delhi desire Devadatta Dolly dramatist dream Evam Indrajit father feels Final Solutions Fought the Queen gender Girish Karnad goddess Hardika Hayavadana Hemakant Hindu human husband identity ideology Indian English Indira Parthasarathy Indra Jairaj Javed Jiten Kali Kamala Kapila Kashikar King Kurudavva live Mahasweta Mahasweta Devi Mahesh Dattani male man’s Manik mask modern mother Naga Nandini nature Nittilai one’s Padmini Paravasu patriarchal play playwright political present Rabindranath Rabindranath Tagore Raibhya Rajaninath Rakta-karabi Rama Ramnik Rani Rani’s reality Red Oleanders role Samant says scene sexual Sircar social society song stage story Sujata symbols Tagore Tagore’s theatre theatrical tradition translation truth Tughlaq Vijay Tendulkar violence woman women writing Yaksha Yavakri