Vol 5 No 2 - Page 2

“Last Seen Alive”: Lacan, Louise Bell and I in a Haunted House

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Fiona Sprott, Flinders University, Australia

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Abstract

Nobody notices me. That’s kind of normal. Nobody really noticed Ellen either until she was gone.

In 1983 a young girl called Louise Bell mysteriously disappeared from her bedroom in an outer-lying suburb of Adelaide. This story became part of the tapestry of fragmentary memories of my own girlhood. I used Lacan’s Borromean knot model of the psyche as a tool to guide my creative research and ideas towards a contemporary performance text titled Last Seen Alive which strives to translate newspaper accounts, and personal memories of the story into a fictional text. What is the symbolic order of the story of a girl who mysteriously disappears from her bedroom one night? How to conjure the ghosts and monsters of the imaginary which populate the print media stories of Louise Bell’s disappearance? How to represent my encounter with the man currently suspected of murdering Louise?  Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

The “Politically Correct Memsahib”: Performing Englishness in Select Anglo-Indian Advice Manuals

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S. Vimala, M.G.R. College, Hosur, India

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Abstract

Examining select Anglo-Indian advice manuals written after the Indian Mutiny in 1857and during the ‘high imperialism’ period of the British Raj, the essay proposes that this cultural artefact served the purpose of constructing and naturalizing the English Memsahibs’ gendered racial identity. By reiterating the performance of gender, class and race imperatives to construct a unique identity prerequisite for the Anglo-Indian community as well as the Indian colony, these texts aimed at the crystallization of this identity that will strengthen the idea of the British Raj. Such reiteration- apart from revealing the imperial anxiety of the subversion of the Memsahib identity- were useful to caution the English women new to the colonial environment.  Reading these Anglo-Indian advice manuals produced for the consumption of the Anglo-Indian community, what the essay further proposes is that the performance of gendered-racial identity of the English women in India constituted not only the governance of their bodies and the Anglo-Indian spaces, but also their management of travel and material consumption including food.  Judith Butler’s Gender Trouble and Bodies That Matter provide useful insights to study the performance of the “politically correct Memsahib” identity and its attendant relation to the imagining of the homogenous British Raj.    Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

A Poetics of Free Indirect Discourse in Narrative Film

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Mohammad Ghaffary, Shiraz University, Shiraz, Iran

Amir Ali Nojoumian, Shahid Beheshti University, Tehran, Iran

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Abstract

This essay provides, for the first time, a model for identifying and analyzing “free indirect discourse” (FID) in narrative film, the most problematic mode of representing characters’ discourse which has received little attention from film theorists and critics. According to the established “dual-voice” hypothesis, FID is an ambiguous merger of the narrator’s voice and the character-focalizer’s, without one predominating over the other. The basic argument of the essay, then, is that FID occurs in a film at the moment when the spectator is not able to distinguish narratorial objectivity from characterological subjectivity. This characterizes the narrative text as polyvocal / polyphonic, leading to artistic ambiguity and such processes as “différance” and “deterritorialization.” Based on this theory, the researchers offer a detailed analysis of the textual markers and major functions of FID in filmic narratives. The model provided can be adopted for analyzing any narrative film. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

Revolutionary Roads: Violence versus Non-violence: A comparative study of The Battle of Algiers (1966) and Gandhi (1982)

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Vikash Kumar

Jawaharlal Nehru University, New Delhi India

Considered one of the finest realist films ever which reconstitutes perfectly the revolution by the people of Algeria, The Battle of Algiers (Pontecorvo Gillo, La Bataille d’Alger, Igor Film/ Casbah Films, Italy, 1966) presents us an image of a world of anger and agony. The making of The Battle of Algiers possibly heralded the birth of Algerian cinema as it was the first film made just after their independence. In fact, this cinematographic masterpiece reveals to its viewers a plethora of images depicting the Algerian people in their quest for independence. Made in the year 1966, by Gillo Pontecorvo and based on the personal experiences of Yacef Saddi, Military Head of the FLN (Front de liberation National/ National Liberation Front) who also collaborated on the script of the film, The Battle of Algiers, interestingly, was directed with the aim to highlight the invisible aspects and unheard voices of this violent revolution by the people of Algeria as well as the counter measures taken by the colonial power to suppress the movement. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

“Popart”: the ‘Global’ Avatar of Bollywood

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Prateek, Ramjas College, New Delhi, India

 Abstract

Since its inception, the concept of “popart” – the interaction of popular cinema and art cinema – has been heralded as one of the most important contributions to Indian film scholarship. Drawing upon insights from Dev Benegal’s English, August, which is supposedly the first and the best example of “popart” film, I shall try to track down the genesis of ‘popart’ cinema and show how and why “popart” has become India’s countershot to world cinema. The first part of the article addresses the rise of Indian cinema through the process of imitation of its western counterpart either in terms of themes borrowed from Western mainstream cinema or cinematic techniques imitated from the “auteurs” of New Wave cinema. The second part of the article argues how a new art form popularly known as “popart” could become an Indian success story. Keep Reading

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Ravaged Bodies, Embodied Performance: Performativity in Dattani’s Brief Candle

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Samipendra Banerjee, University of Gour Banga, Malda, India

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Brief Candle, Mahesh Dattani’s latest play concerns itself with the plight of cancer patients but in the process takes important strides in performativity. This paper is an attempt to evaluate performance and performativity within the theatrical space through an analysis of the centrally dominant stage prop, the mask or ‘Face of Cancer’ and performing bodies. Touching upon the genealogy of Performance Studies as a discipline and its intricate and fraught relationship with the theatre I seek to explore performative elements in the play. I also seek to look at the ‘derogated’, cancerous body as a charged site of performativity and argue that bio-medical and technological intervention crucially transforms the human body. The play could also be read as a space that explores the post-human body and its performative possibilities. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

Balancing Tradition and Modernity: A reading of Tendulkar’s Ghasiram Kotwal

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Shukla Chatterjee (Mandal), Dr. B. C. Roy College of Pharmacy and AHS, Durgapur, India

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Abstract

India, the country of cultural diversity, has a long tradition of dramatic performance with regional specificities. More commonly, it is known as folk tradition/folk theatre It is the folk theatre that gives the essence of the Indianness. During the 1970s, most of the prominent playwrights of India broke the barriers of regional language and produced many good plays at the national level. Most of their experimental works were centered on bringing the performance tradition or elements of folk theatre of India into the popular theatre. Thus we find Girish Karnad’s Hayavadana (1971) using theatrical devices of Yakshagna, a traditional form of theatre, widespread in Karnataka, Utpal Dutt using jatra in Surya Sikar (1972). Badal Sircar, experimented with folk elements of theatre and incorporated them into the proscenium theatre to evolve a new kind of theatre which he called the ‘third theatre’ or ‘street theatre’. Similarly Vijay Tendulkar, like his contemporaries, experimented with various forms of folk theatre in Ghasiram Kotwal (1972). But Ghasiram Kotwal is also a different and more important play in balancing tradition and modern in the history of Indian theatre. For an eminently successful and subtle realization of its importance in the long run, it is necessary to discuss the play critically. This paper is therefore an attempt to read how Tendulkar adopted the different folk forms of theatre and used it to represent on stage a power politics and the effects of oppression, a very contemporary and modern/postcolonial issue. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

Ajitesh Bandopadhay: In the Neighbourhood of Liminality

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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. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

“Acrobating between Tradition and Modern”: The Roots Movement and Theatre’s Negotiation with Modernity in India

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Anuparna Mukherjee, English and Foreign Languages University, Hyderabad

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Abstract

When playwrights like Girish Karnad joined the stage after the nation’s independence in 1947, the Indian theatre was suffering from acute identity crises being torn between its ancient cultural past and its more recent colonial legacy, which gave birth to hybrid dramatic forms. Several theatre personalities at that time articulated the aspirations of a newly independent nation through their attempts to decolonize the aesthetics of modern Indian theatre by retracing its roots in the repository of India’s classical and folk traditions.  In the light of these developments my paper aims to look at some of the diverse indigenous forms that had been deployed with much success in plays like Karnad’s Hayavadana or Tanvir’s Charandas Chor, thereby significantly contributing to the larger project of decolonization after independence. At the same time the paper also wishes to interrogate whether this ambivalent process of Indianization, sometimes loosely brought under the umbrella of ‘Roots Movement’, is quintessentially ‘anti-modern’, or whether it is actually an attempt to evolve a discourse of an ‘alternate modernity’ by subverting some of the paradigms of its European counterpart which are actually a by-product of both capitalism and imperialism in the West. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

People’s Art or Performance of the Elites?: Debating the History of IPTA in Bengal

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Binayak Bhattacharya, EFL University, Hyderabad

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This article attempts to re-read the cultural history of the Indian People’s Theatre Association (IPTA) within the larger context of the progressive nationalist politics of Bengal. The purpose of this re-reading is to engage in a debate to locate the political status of the various non-urban, non-elite, non-middle class performative practices within the political strata of IPTA. The article reiterates that the Left politics of Bengal maintained an inseparable alliance with the Bhadralok class since its early days and by virtue of this alliance, the hegemony of the Bhdraloks remained secured. Consequently, within the practical domain of the Left politics vis-a-vis the IPTA, the middle class intelligentsia kept controlling the performative arena by restraining the movements of various non-Bhadralok forms. By citing references from the writings of Sudhi Pradhan and Hemango Biswas, this article contemplates to enter into a lesser-known chapter from the glorified history of IPTA. Keep Reading

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What is Performance Studies?

Richard Schechner Tisch School of the Arts, New York University  Download PDF Version Because performance studies is so broad-ranging and

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