In the introduction to her edited anthology, Modern Indian Theatre
(2009), Nandi Bhatia pointed to the increasing number of critical works
devoted to the history and development of modern Indian theatre. Such
works, Bhatia argued, were crucial in reconstructing an Indian
theatrical past and in dispelling oriental myths about modern Indian
theatre. According to Bhatia, “. . . it indicates a growing interest in
Indian theatre history and points towards the need for more work that
subjects this highly pluralistic diverse field to critical scrutiny”
(xii). The first decade of the twenty-first century saw the publication
of crucial critical works on the historiography of Indian theatre which
included Nandi Bhatia’s Acts of Authority/ Acts of Resistance(2004), Aparna Dharwadker’s monumental Theatres of Independence (2005), Vasudha Dalmia’s Poetics Plays and Performances: The Politics of Modern Indian Theatre (2006) and Erin B Mee’s Theatre of Roots: Redirecting the Modern Indian Stage (2008). Around the same time appeared Syed Jamil Ahmed’s Achinpakhi Infinity
(2000), a major work in studying the indigenous theatre traditions of
Bangladesh. These signposts have inspired theatre scholarship in diverse
fields in the next decade leading to works that have addressed the
plurality of theatre in the Indian sub-continent. The richness of
theatrical and performative forms in the Indian sub-continent have
expanded considerably in the contemporary times, manifesting a plural
and vibrant theatrical culture that awaits further interpretation.
While contemporary theatres and performances in the Indian
sub-continent have been exploring the proscenium space in diverse ways,
they have also moved out of the proscenium into alternative spaces, into
the experimental realms of installation art and performance. These have
resulted in greater engagement with immersive, intimate and interactive
theatre practices where the ‘fourth wall’ has come down and the
audience have been immersed into the play itself. What have been the
ways in which audience reception has transformed in new experimental
performance forms? How have contemporary theatres explored the
proscenium space? How has alternative theatre spaces emerged? Did the
widespread pandemic of Covid-19 foster the search for new spaces of
performance? What emergent social and political issues are being
addressed by the contemporary theatres? How ‘political’ is today’s
theatre? How far do marginalised groups represent themselves and/or are
being represented in contemporary theatre? How have the legacies of
traditional and classical theatre been carried on in contemporary
theatres? How far can the theatre discourse centring around Natyasastra be
applied as a critical/theoretical context in today’s theatre? What are
our theatrical ‘futures’ and ‘prospects’?
Premised on the above thoughts and questions, the proposed title
invites scholarly articles on various issues related to contemporary
theatre and performance in the Indian sub-continent. While we consider
the phenomenon of performance as an inclusive concept ranging from daily
life’s performance observations through indigenous tradition and
classical to avant-garde initiatives, there are innumerable areas to be
explored in the realm of the sub-continental performance tradition with
the support of diverse theoretical tools from Natyasastra to
recent theories. Once we see theatre and performance as a product of
social process and its craft as a product of extensive enquiries to
discover new expressive idioms, immense potential for further research
and enquiry emerges. The frequent crossover of Indian theatre with
various international criticism and streams of writing from the second
half of the twentieth century onwards has also considerably impacted the
contemporary scenario, which is a subject of intensive study. The call
for papers and articles thus aims to address the plurality of Indian
Sub-Continental theatre and drama, and its multiple streams that have
variously contributed to the rich repository of Indian Sub-Continental
performance practices.
Papers are invited (but not limited to) the following sub themes/ topics:
- Current trends in research on Indian Sub-Continental theatre, performance and drama
- Historiography and Post-Independence Indian theatre and drama
- Women in the theatre, performance and drama of the Indian sub-continent
- Queer identities in the theatre and drama of the Indian sub-continent
- Gender inclusivity in the theatre and drama of the Indian sub-continent
- Theatres of Protest
- Theatre In Education
- Political theatre
- Theatres of Alternative spaces: Immersive, interactive and intimate theatre experiences
- Relevance of Indigenous performance practices in Contemporary Theatre
- Beliefs and motifs of Tribal theatrical traditions and its relevance in contemporary practices
- Urban-Folk theatre
- Theatres of Ritual/Ritual Theatre
- Covid-19 and the theatre and drama of the Indian sub-continent
- Theatre of Roots
- Environmental theatre
- Theatre from the Margins
- Contemporary Indian theatre and Drama
- Post-Independence Indian theatre and Pedagogy
- Regional theatre and criticism
- Playwrights and Theatre Directors of the Indian sub-continent.
- Wide practices of Amateur Theatre/Mobile Theatre in the Sub-Continent
Full articles within 5000 words (approx.) conforming to the latest
MLA style guidelines should be sent along with a short bio-note (within
250 words) to thespian.articles@gmail.com.
Last Date of Submission
20 December 2023
For details, please strictly follow the guidelines provided on the website.
http://www.thespianmagazine.com/guidelines
Work Cited
Bhatia, Nandi, editor. Modern Indian Theatre: A Reader. Oxford UP, 2009.
