Indian Theatre Journal最新文献_第2页

‘You don’t have the right to hit anyone’: Domestic violence in Othello and Omkara “你没有权利打任何人”:《奥赛罗》和《奥姆卡拉》中的家庭暴力

Indian Theatre Journal Pub Date : 2021-08-01 DOI: 10.1386/itj_00019_1

Kelsey Ridge

引用次数: 0

Anti-Othellos and postcolonial Others in Izzat and Aastha 《伊扎特与阿斯塔的反奥赛罗与后殖民他人

Indian Theatre Journal Pub Date : 2021-08-01 DOI: 10.1386/itj_00016_1

A. Jayakumar

引用次数: 0

Transculturated Shakespeare: Malayalam cinema and new adaptive modes 跨文化的莎士比亚:马拉雅拉姆电影和新的适应模式

Indian Theatre Journal Pub Date : 2021-08-01 DOI: 10.1386/itj_00017_1

Anupama Mohan

{"title":"Transculturated Shakespeare: Malayalam cinema and new adaptive modes","authors":"Anupama Mohan","doi":"10.1386/itj_00017_1","DOIUrl":"https://doi.org/10.1386/itj_00017_1","url":null,"abstract":"Malayalam cinema offers a unique body of work for scholars seeking to understand the heterogenous traditions of Indian engagement with Shakespeare. In this article, after a brief overview of the history of Malayalam reception of Shakespeare generally, I focus on the film adaptations\u0000 of director Jayaraj (Kaliyāttam / Othello [1997]; Kannaki / Antony and Cleopatra [2002]; and Veeram / Hamlet [2017]). Of particular relevance is Jayaraj’s interest in Shakespeare’s female characters, whom he reshapes by immersing his adaptation\u0000 in the local practices and idioms of Kerala culture, thus transforming the Shakespearean play-text thoroughly. The article examines the influence especially of kathāprasangam upon Jayaraj to understand what aspects of Shakespeare endure in Jayaraj’s films and what are transformed.\u0000 By approaching the question of adaptation from the perspective of the emic and the etic, an apparatus made influential by linguist-anthropologist Kenneth Pike in his analysis of a cultural text, I examine why, in Malayalam, cinematic Shakespeares have seen greater commercial and critical success\u0000 than Shakespeare in translation or literary adaptation. The article seeks to understand this disparity by closely reading some of the recurrent patterns that emerge in Shakespeare transculturated in the two domains of Malayalam literature (including translation) and film.","PeriodicalId":293433,"journal":{"name":"Indian Theatre Journal","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134513526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Othello as a play-within-the-film in post-independence Indian cinema1 独立后印度电影中的《奥赛罗

Indian Theatre Journal Pub Date : 2021-08-01 DOI: 10.1386/itj_00015_1

Rosa M. García-Periago

{"title":"Othello as a play-within-the-film in post-independence Indian cinema1","authors":"Rosa M. García-Periago","doi":"10.1386/itj_00015_1","DOIUrl":"https://doi.org/10.1386/itj_00015_1","url":null,"abstract":"This article aims to explore the appropriation of Othello as a play-within-the-film in three Indian movies: Anbu (Natesan 1953), Saptapadi (Kar 1961) and Ratha Thilagam (Mirasi 1963). Anbu and Ratha Thilagam are Tamil movies, whereas Saptapadi\u0000 is an example of Bengali cinema. In the three films, the same scene from Shakespeare’s Othello ‐ the murder scene ‐ is performed as part of college theatricals. Although the films immediately associate Shakespeare with education, their appropriation of Othello\u0000 goes beyond a college performance and provides insight on the main plot. The performance of the murder scene foreshadows the rest of the plot (Anbu and Ratha Thilagam), and explores racial dynamics and miscegenation in relation to the protagonists in Saptapadi. Anbu, Saptapadi\u0000 and Ratha Thilagam introduce variations to the plot to add new layers of meaning. As the three films are set in postcolonial India, the use of the Shakespearean play inevitably becomes a site of negotiation between colonizers and colonized; the three films negotiate changing controversial\u0000 political issues across the time period to which they all belong. Anbu, Saptapadi and Ratha Thilagam generate then a new understanding of Othello, which becomes paramount to trace the evolution of Shakespeare in postcolonial India.","PeriodicalId":293433,"journal":{"name":"Indian Theatre Journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127053789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Revisiting Shakespeare in India 在印度重温莎士比亚

Indian Theatre Journal Pub Date : 2021-08-01 DOI: 10.1386/itj_00011_2

Sreenath Nair

引用次数: 0

Black skin, white masks: Izzat as an appropriation of Othello 黑皮肤，白面具:伊扎特改编自《奥赛罗》

Indian Theatre Journal Pub Date : 2021-08-01 DOI: 10.1386/itj_00014_1

K. Chatterjee

{"title":"Black skin, white masks: Izzat as an appropriation of Othello","authors":"K. Chatterjee","doi":"10.1386/itj_00014_1","DOIUrl":"https://doi.org/10.1386/itj_00014_1","url":null,"abstract":"Izzat was the first mainstream Hindi film to reference Othello and has so far escaped the attention of academics who have begun researching the underexplored field of Bollywood Shakespeares. The film stars Dharmendra playing both versions of a fair- and a dark-skinned twin, which\u0000 is a novel take on a Shakespearean trope. As a mainstream film, Izzat does not aspire to the pedagogical cultural capital of Shakespeare that Saptapadi does, nor does it reference the performance traditions of Othello onstage or film. However, references to Othello\u0000 that seem superficial at first glance are embedded throughout the film. The only direct reference to the play is when Deepa meets Shekhar (who is pretending to be his twin Dilip) for the first time, and he sees she has been reading Othello. This sparks off a conversation about appearances\u0000 and colour prejudices that is quite alien to an industry that traditionally favours light-skinned protagonists but rarely acknowledges it. Through this article, I would like to explore the ways in which Shakespearean tropes, and in particular Shakespeare’s Othello, has been used\u0000 to explore postcolonial anxieties about identity in India by juxtaposing Adivasi identities with more typical urban Indian identities. The film also suggests that the colonizers have been replaced in Indian society by the urban elite who value superficial white masks and practise a racism\u0000 that is much more insidious by discriminating against other Indians based on colour, caste and class. Through this exploration, I will also examine how Othello impacts the Indian psyche and why the referencing of Othello in this film points towards the many ways in which Othello\u0000 is adapted and appropriated in Indian mainstream media.","PeriodicalId":293433,"journal":{"name":"Indian Theatre Journal","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132861467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Tācippe, The Dancing Girl: Entangled questions of social and aesthetic reform in a Tamil drama by Pammal Campanta Mutaliyār (1873‐1964) Tācippe，跳舞的女孩:泰米尔戏剧中社会和美学改革的纠缠问题，作者:帕玛尔·坎帕塔Mutaliyār(1873‐1964)

Indian Theatre Journal Pub Date : 2021-08-01 DOI: 10.1386/itj_00020_1

Davesh Soneji

{"title":"Tācippe, The Dancing Girl: Entangled questions of social and aesthetic reform in a Tamil drama by Pammal Campanta Mutaliyār (1873‐1964)","authors":"Davesh Soneji","doi":"10.1386/itj_00020_1","DOIUrl":"https://doi.org/10.1386/itj_00020_1","url":null,"abstract":"Pammal Campanta Mutaliyār (1873‐1964) is generally regarded as the ‘father of the modern Tamil theatre’. In this article I examine how Pammal’s non-mythological and non-Shakespearean dramas ‐ that is, what he termed his ‘social dramas’\u0000 ‐ were woven into different domains and constituencies that saw themselves as agents for social change. I argue that his engagement with projects of civic and social reform ran parallel to his ideas about the aesthetic reform of the Tamil drama itself. Beginning in the first decade\u0000 of the twentieth century, Pammal’s dramas self-consciously attempt to rid themselves of what Pammal understands as the aesthetic excesses of the Parsi-inflected Tamil theatre, including its densely musical nature and its increasingly mixed-gender cast. Tācippe, The Dancing Girl\u0000 (1928), a drama that deals with devadāsī reform, perhaps best exemplifies the simultaneity and intertwined nature of Pammal’s programmes. It was composed on the eve of reformer Dr Muthulakshmi Reddy’s earliest legal interventions towards the abolishment of devadāsī\u0000 lifestyles and is a deeply self-reflexive work. Not only does it stage well-established tropes about devadāsī reform, but it deploys the idiom of Pammal’s new vision of the modern Tamil theatre ‐ bereft of its musical temperament and performed exclusively by\u0000 men ‐ to do so.","PeriodicalId":293433,"journal":{"name":"Indian Theatre Journal","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115346704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

In conversation 在谈话中

Indian Theatre Journal Pub Date : 2020-08-01 DOI: 10.1386/itj_00009_7

Rama Vaidyanathan, Kaladharan Viswanath

引用次数: 1

The politics of rhetoric: Re-membering and re-narrating ‘bodily’ resistances in Rabijita Gogoi’s plays 修辞的政治:回忆和重新叙述拉比吉塔·戈戈伊戏剧中的“身体”抵抗

Indian Theatre Journal Pub Date : 2018-12-01 DOI: 10.1386/ITJ.2.1-2.49_1

N. Pathak

引用次数: 0

Embodied knowledge and performativity 具体化的知识和表演

Indian Theatre Journal Pub Date : 2018-12-01 DOI: 10.1386/ITJ.2.1-2.3_2

Sreenath Nair

引用次数: 0