Special Issue on Performance Studies

  • Special Issue on Performance Studies

  • A scene from Cherry ka Baghicha (Anton Chekhov's The Cherry Orchard) directed byRichard Schechner at the NSD in 1983. The actors standing are Manohar Singh and Sureka Sikri. Photograph by Richard Schechner.
    A scene from Cherry ka Baghicha (Anton Chekhov’s The Cherry Orchard) directed byRichard Schechner at the NSD in 1983. The actors standing are Manohar Singh and Sureka Sikri. Photograph by Richard Schechner.
  • Editorial (HTML I PDF)
  • Section I: Theories of Performance Studies
  • What is performance Studies?
    Richard Schechner, New York University (HTML I PDF)
  • The Entangled Vocabulary of Performance
    Sruti Bala, University of Amsterdam (HTML I PDF)
  • Dramatizing Water: Performance, Anthropology, and the Transnational
    Kanta Kochhar-Lindgren, University of Washington, Bothell (HTML I PDF)
  • ‘All the world’s a stage and I’m a genius in it’: Creative Benefits of Writers’ Identification with the Figure of Artistic Genius
    Claudia Chibici-Revneanu, ENES, UNAM León in Mexico (HTML I PDF)
  • Was Shakespeare an Existential Wimp?
    Rob Harle, Poet and Artist, Australia (HTML I PDF)
  • Performing “Fine Arts”: Dance as a Source of Inspiration in Impressionism
    Johannis Tsoumas, Hellenic Open University, Athens (HTML I PDF)
  • Singing Specters: Phenomenology in the Performance of Music
    Dan W. Lawrence, Michigan Technological University (HTML I PDF)
  • Section II: Dance as Performance
  • Modern Rendition of Ancient Arts: Negotiating Values in Traditional Odissi Dance
    Shreelina Ghosh, Dakota State University (HTML I PDF)
  • Aestheticizing without Agenda: A Counter-Reading of the Western Approach to Chhau Dance
    Indranil Acharya, Vidyasagar University (HTML I PDF)
  • “Performance as Protest”: Thumri and Tawaif’s Quest for Artistic Autonomy
    Shramana Das Purkayastha, Vijaygarh Jyotish Ray College, Kolkata (HTML I PDF)
  • Healing through Hip Hop: In the slums of Phnom Penh Cambodia
    Romi Grossberg, Social Activist (HTML I PDF)
  • Section III: Rituals and Performance
  • Sitala Saga: A Case of Cultural Integration in the Folk Tradition of West Bengal
    Proggya Ghatak, National Institute of Social Work and Social Science, Odisha (HTML I PDF)
  • Ritualistic World of Tuluva: A study of the Women of the Siri Possession Cult
    Yogitha Shetty, University of Hyderabad (HTML I PDF)
  • Section IV: Performance and Music and Poetry
  • From New Elocution to New Criticism and the Dismissal of Vachel Lindsay
    Brian McAllister, Albany State University (HTML I PDF)
  • “The Times They Are A-Changin’”: Bob Dylan and Urban Poetry
    Sudev Pratim Basu, Visva-Bharati University (HTML I PDF)
  • Gender Dialectics of Yoruba Drum Poetry
    Azeez Akinwumi Sesan, Al- Hikmah University, Ilorin (HTML I PDF)
  • Section V: Performance in Drama and Cinema
  • People’s Art or Performance of the Elites?: Debating the History of IPTA in Bengal
    Binayak Bhattacharya, English and Foreign Languages University, Hyderabad (HTML I PDF)
  • “Acrobating between Tradition and Modern”— The Roots Movement and Theatre’s Negotiation with Modernity in India
    Anuparna Mukherjee, English and Foreign Languages University, Hyderabad (HTML I PDF)
  • Ajitesh Bandopadhyay: In the Neighbourhood of Liminality
    Rajdeep Konar, Jawaharlal Nehru University (HTML I PDF)
  • Balancing Tradition and Modernity: A reading of Tendulkar’s Ghasiram Kotwal
    Shukla Chatterjee (Mandal), Dr. B. C. Roy College of Pharmacy and AHS, Durgapur (HTML I PDF)
  • Ravaged Bodies, Embodied Performance: Performativity in Dattani’s Brief Candle
    Samipendra Banerjee, Gour Banga University (HTML I PDF)
  • ‘Popart’: the Global ‘Avatar’ of Bollywood
    Prateek, Ramjas College (HTML I PDF)
  • Revolutionary Roads: Violence versus Non-violence: A comparative study of The Battle of Algiers (1966) and Gandhi (1982)
    Vikash Kumar, Jawaharlal Nehru University (HTML I PDF)
  • A Poetics of Free Indirect Discourse in Narrative Film
    Mohammad Ghaffary, Shiraz University, Shiraz, Iran
    Amir Ali Nojoumian, Shahid Beheshti University, Tehran, Iran (HTML I PDF)
  • Section VI: Performance and the Gender Issues
  • The “Politically Correct Memsahib”: Performing Englishness in Select Anglo-Indian Advice Manuals
    S. Vimala, M.G.R. College, Hosur (HTML I PDF)
  • “Last Seen Alive”: Lacan, Louise Bell and I in a Haunted House
    Fiona Sprott, Flinders University, South Australia (HTML I PDF)
  • Semiotic Encryption of Women, Violence and Hysteria in Indian Women Dramaturgy
    Praggnaparamita Biswas, Banaras Hindu University (HTML I PDF)
  • Humans as Voices of God and Tradition: Rethinking the Subjugation of the African Woman in Mariama Ba’s So Long a Letter
    Stephen Oladele Ajayi, Crowther University, Nigeria (HTML I PDF)
  • Section VII: the Human Body as a Site of Performance
  • Spiritual Vacuity and Corporeal Disobedience: Contemporary Plays on Organ Transplants
    Sita Maria Kattanek, Carl Hanser, Munich (HTML I PDF)
  • ‘A Skin of Ink’: The Tattooist and the Body in Performance
    Suryendu Chakraborty, Krishnagar Women’s College (HTML I PDF)
  • Section VIII: Cooking as Performance
  • Cooking as Performance: Negotiating Art and Authenticity in Ratatouille
    Poushali Chakraborty, Rabindra Bharati University (HTML I PDF)
  • Section IX: Performance on the New Media
  • Theatre(s) of Resistance: Those ‘Other’ Performances in Simulation
    Sambuddha Ghosh, Jadavpur University, Kolkata, India (HTML I PDF)
  • Section X: Performance Review
  • Buddha Chingtham’s Mythical Surrender
    Review by Prateek, Ramjas College & Krispa Ningombam, theatre critic (HTML I PDF)
  • Section XI: Creative
  • Dancing the Fifth Dimension
    Rob Harle (HTML I PDF)