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Contents Acknowledgements 1 Introduction of Text and Performance Girish Karnads Plays 2 In His Own Voice A Conversation with Girish Karnad 3 Playing upon the Possibilities Ma Nishada 1964 as "Agasayana" in the 1990s 4 Race and Gender in Yuyati 5 Tughlaq as an Experimenter 6Use and Abuse of History in Tughlaq VeenaNoble Dass 7 Historical Fictions and Postcolonial Representation Reading Tughlaq 8 Thirty Years with an Insane Man An Actor Reminisces 9 From the Horses Mouth A Study of Hayavadana 10 Hayavadana Model of Comlexity 11 Hayavadana A Study in Condensation 12 Effacing Hayavadana on the Masks of the Text 13 Myth and Reality in Hayavadana and Nagamandala 14 Quest for Completeness in Hayavadana and Nagamandala or their Subversion 15 Nagamandala as a FolkFake 16 Morality Play A Study of the Folk Paradigm in Karnads Play in the Light of the Naga Cult of Kerala 17 Performing Women Performing Body Adapting Nagamandala for Feminist Theatre 18 From Word to Act An Approach to Girish Karnad 19 Caste Consciousness and Karnad Analyzing Tale-danda 20 Tale-danda Text and Performance 21 "We have a Play to Perform Toda" Karnads Plays on Stage 1984-1994 22 Rituals as Self-Discovery in The Fire and the Rain 23 Politics of Power A Study of Gender and Caste in The Fire and the Rain 24 Woman as Director Re-Reading The Fire and the Rain 25 A Karnad Festival in Karnataka 26The Fire and the Rain on Celluloid 27 Negotiating Ideological Spaces Reading Bali The Sacrifice 28 Bali The Sacrifice and Dionysian Life Assertion 29 The Dreams of Tipus Sultan at Mysore 30 On the Wings of his Dreams Re-Viewing the Legends and History of Tipu Sultan 31 The Flickering play of Desire and memory Exploring Driven Snow 32 Problematizing Karnads Dramaturgy 33 The Splintered Self A Heap of Broken Images at Rangashankara 34 Flowers A Dramatic Monoluge Patriarchal Power and the Nature of Sacrifice Contributors Bibliography IndexThis volume both interrogates and celebrates the outstanding achievement of Girish Karnad as a gramatist engaged in reinventing the Indian theatre traditions over the past forty-five years Jargon-free and insightful the book probes Karnads inclusive dramaturgy manifested in his deft handling of various literary tropes and stage props All major plays of the distinguished dramatist are explored and revaluated in their larger socio-cultural historical gender caste and performance contexts preceded by a long and rewarding conversation with the playwright many of them supported by photographes of productions The thirty-two contributors to this definitve study belong to the top shelf of dramatheare critics and sahardayas from India and abroad 376 pp.

Hardcover. Condizione: New. 1st Edition. Androgyny is an engaging subject of discussion and research in the present times. This volume makes an effort to understand concepts of androgyny and 'nari bhav' or sensibility of the feminine beyond the anatomy-directed definitions circumscribed within the dubious realm of the 'third sex' or 'third gender'. As expressed through various literary and performative traditions in India that emphasize interrelatedness of art and society, the concept of 'nari bhav' is a deeply rooted cultural belief in the fluid interplay of the female and the male symbolized, for example, as Ardhanariswara. The belief that the constant interplay of duality engenders balance and harmony in both personal and social aspects of human life, and the acknowledgment of the existence of male and female tendencies-physiological and/or emotional-psychological-within each individual has aesthetic validity, may be seen to form the basis of female impersonation in India. Such perception urges more inclusiveness in social attitudes, easier acceptance of different sexualities and ways of expressing gender. The volume discusses concepts of androgyny that permeate Indian cultural ethos and as expressed through female impersonators not only in religion, theatre and dance but also in contemporary performative mediums like films, television and the internet. The volume also presents interactions with performers of the dying art form of female impersonation.