Indian Theatre Journal - Current Issue

Indian theatre is currently studied at a theoretical level in Romanian academic theatre institutes, including both state and private universities. Particularly, one of the Indian theatre forms, Kathakali, is studied with an emphasis on the actor’s physicality in the play; however, the use of specific acting techniques from Kathakali is highly encouraged in the construction of new performances that the students create. Even if it is a highly coded form of theatre and difficult to understand if one does not have the required training, there are students who opt to use several performative elements of the theatre form in their productions to create a valuable intercultural dialogue with diverse cultural and artistic references. Throughout this article, I propose a concise analysis of how I elected to use some elements of the theatre form in the composition of a role within the university. The understanding of these cultural choices and how studying even theoretical forms of theatre or dance-theatre, even if they are conceptually distanced from us, can help us expand our creative area – an important matter for many European creators.

The article discusses the idea of transcultural negotiations focusing on the history of Kathakali institutions in Bengal. It elucidates the idea of institutions with diasporic identity, which resulted in the popularity of the art forms. The article establishes an idea that art forms are relocated to another place as a part of establishing a diasporic identity. It identifies three types of reinventions namely, syllabus-oriented, teaching-oriented and performance-oriented which are connected with Kathakali. These categories are described in detail through the opinion of various teachers, scholars and the artists. The article also describes the difficulties of the transcultural migration of the art forms and the detailed description of the institutions. The study also looks at the contribution of Asiatic Society of Bengal in bringing up a patronage for Asian arts.

The article explores the sociocultural construction of aesthetic identities and the ways in which the dominant ideologies have perpetuated specific narratives of the development of Mohiniyattam. Drawing on Michel Foucault’s concept of ‘episteme’ and Judith Butler’s theory of gender performativity, the study examines the femininity embodied in Mohiniyattam and argues that the dance form has been a tool for patriarchal ideologies, transmitted through generations of dancers manifested in their performance practice. The analysis extends to the contemporary scope of Mohiniyattam, questioning the rigid notion of femininity that has defined the dance form through erotic expressions of the dancer and exploring how innovative choreographies and performative interpretations can challenge such norms. The study uses oral histories and case studies to present a multifaceted view of Mohiniyattam’s historical evolution as a dance form. The revival of Mohiniyattam at different times reflects the dominant epistemes, marked by an embedded male gaze on the female dancing body. The performers’ own initiatives reframed the concept of femininity and its portrayal by exploring the potential of the trained dancing body.

Based on the theme of caste conflict in Girish Karnad’s play Tale-danda, this article aims to delineate how a sub-sect of a majoritarian (Hindu) community endeavoured to establish itself as a distinct religious group (Lingayatism), failed miserably in its mission, and how it is forced to ultimately merge itself into the larger community. The article will explore the reasons for its failure from the events of Karnad’s play Tale-danda, written against the backdrop of the actual events of the Lingayat Movement led by the poet–saint Basavanna in the twelfth-century CE Karnataka. In the play, Karnad depicts many instances of caste consciousness and caste conflicts among the characters. The main objective of the study will be to analyse these sites of conflict as depicted by Karnad in his play Tale-danda, in light of the French philosopher Michel Foucault’s concepts of power/knowledge and discourse. This article will also highlight how sometimes intra-caste conflicts are more prominent than inter-caste conflicts.