Rajdeep Konar, Jawaharlal Nehru University, New Delhi, India
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In my essay I would like to investigate the shift of paradigms in the relationship between theatre and politics that director, playwright and actor Ajitesh Bandopadhay (1933-83) was bringing into Bengali theatre. I would like to analyze how in the field of theater he was trying to form a threshold space: a threshold where politics and ethics, community and the individual, global and local can exist together as equals not imparting the hegemony of one on the other. How Ajitesh strove to conceive a theatre which puts forth itself as an analytical presence of life and society unmediated by an ideological or ethical regime. I would like to argue that it is in such a liminal presence in theatre, politics and the world; that the key to our future community of equality lie. This would also be an attempt at reclaiming the legacy of Ajitesh, whose influence on Bengali theatre has been hugely underplayed by the rather scanty posthumous attention being paid to his work.
Ayusman Chakraborty, Jadavpur University, India
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Tipu Sultan was the ruler of the native state of Mysore. His fierce opposition to British rule in India earned him unrivalled notoriety in England. Colonial writings usually portray him as a cruel tyrant who tortured Indians and Englishmen alike. This article studies the representation of Tipu Sultan in three nineteenth century English novels – The Surgeon’s Daughter by Sir Walter Scott, Tippoo Sultaun: A Tale of the Mysore Wars by Captain Meadows Taylor, and The Tiger of Mysore by G. A. Henty . In these works, Tipu is painted in an extremely unfavourable light. Arguing that the politics of imperialism influences such representations, this article tries to show how the depiction of Tipu as a monstrous villain served to justify British rule in India. These novels seem to suggest that the British deserve credit for rescuing Indians from such egregious villain. The article also focuses on politicization of Tipu’s dead body. Colonial art and literature constantly return to the scene where Tipu’s body is discovered by his enemies. This article argues that colonial imagination converts Tipu’s corpse to a ‘grisly trophy’ which becomes a sign of British triumph over Oriental despotism.