Indian Theatrical Tradition

9351 Words38 Pages
The distinctiveness of Indian theatrical tradition in the dramatic cultures of the world—its antiquity as well as its aesthetic appeal—is more or less indisputable today. The roots of theatre in India are ancient and deep-seated. Theatrical expression of some kind or the other has been since primitive and mythic times, an integral part of Indian life. Our knowledge about the initial, primitive stage of theatrical activity in India is very meagre. However one can safely say that theatre in India as in Greece was deeply embroiled with religion and the theatrical activity in India as in other cultures “began with primitive, magical, religious or social rites, ritualistic dances, festivals etc.” In Greece, drama originated from their…show more content…
M.K. Naik righty opines: “…the Tagore-Aurobindo-Kaliasam tradition of poetic drama continues, but with a difference in the hands of Manjeri Isvaran, G.V. Desani, Lakhan Deb and Pritish Nandy.” Manjeri Isvaran’s Yama and Yami (1948) is a dialogue in poetic prose, with a prologue and an epilogue, dealing with the incestuous love of Yami for her brother. G. V. Desani’s Hali (1950), an entirely different kind of play, received high praise for its originality, symbolism and rich imagery. Lakhan Deb’s Tiger Claw (1967) is a historical play in three acts on the controversial murder of Afzal Khan by Shivaji. His other two plays are Vivekanand (1972) and Murder at the Prayer Meeting (1976). The use of blank verse is flawless and the last play compels us to remind of T.S. Eliot’s Murder in the…show more content…
Alam, Fakrul. South Asian Writers in English. MI: Thomson Gale, 2006. Ali, Sheikh B. Tipu Sultan. New Delhi: National Book Trust, India:1972. Barry, Peter. Beginning Theory. Manchester: Manchester University Press, 2000. Bentley, Eric. The Theory of the Modern Stage. England: Penguin Group, 1992. Bennet, Dona. Amazing Space: Writing Canadian Women. Longspoon: Newest, 2006. Crow, Brian and Chris Banfield. An Introduction to Post-Colonial Theatre. Cambridge: Cambridge University Press, 1996. Das, B. Saviour. Drama as Text and Performance in Vijay Tendulkar and Girish Karnad. Thiruvananthapuram: University of Kerala, 2002. Department of English & Modern European Languages, University of Allahabad (ed.). English Verse Selections: Part II, (New Delhi: O.U.P., 2001) Dept. of English, SDNBV College for Women. Some Perspectives in Indian Writing in English. Chennai: The Dept. of English, SDNBV College for Women, 2005. Dhanavel, P. The Indian Imagination of Girish Karnad: Essays on Hayavadana. New Delhi: Prestige Books, 2000. Dhawan, R. K, 50 Years of Indian Writing: Golden Jubilee Volume. New Delhi: Indian Association for English Studies,

More about Indian Theatrical Tradition

Open Document