Indian Drama in English: The Beginnings ed. by Ananda Lal (review)

power to create the world from their perspective” (p. 139). Simultaneously, Amal Allana’s post-Brechtian vision “challenged the Marxist interpretive system of Brecht by making the production more open-ended with her ingenious treatment of gender, casting a male actor (Manohar Singh) to play the role ofMother Courage” (p. 140). By tracing the “bends” (historical, social, political, and aesthetic) in Brechtian theatre in India, this chapter argues that Brechtian theatre does not allow for essentialism. It is nonlinear, favoring reimagination and aesthetic interpretations of Brecht. The closing chapter critically sums up Prateek’s discourse on Brechtian theatre and particularly highlights the scope of his analysis of Brecht in India beyond a monolithic interpretation of Brecht. Prateek illustrates how this study can further the reader’s understanding of Brecht and Brechtianmetamorphosis through culture, time, and sociopolitical systems through a multi-disciplinary approach. Brecht in India: The Poetics and Politics of Transcultural Theatre can be a significant reference point for a broad readership in theatre studies and postcolonial studies, emphasizing Brechtian theatre and aesthetics. The book contextualizes the evolution of Brechtian theatre in India geopolitically through a global and comprehensive approach. The author generates a conversation on the transformation of Brecht in postcolonial India through a series of informative accounts, which can be further explored and explained considering the extensive political, cultural, and social developments of postcolonial India.