Postdramatic Theatre and India

Ashis Sengupta is Professor of English at the University of North Bengal. A recipient of the Olive I. Reddick award (1995), Fulbright American Studies Institute fellowship (2002), Fulbright visiting scholarship (2006) and SASNET guest lecturer grant (2009), he has widely published on American and South Asian theatre in journals and edited volumes that include Journal of American Studies, Comparative American Studies, Journal of American Drama and Theatre, Indian Literature, and DLB: South Asian Writers in English. His edited volumes include Mapping South Asia through Contemporary Theatre (Palgrave Macmillan, 2014) and Islam in Performance (Bloomsbury Methuen, 2017). His areas of interest include literary and cultural theory, and theatre and performance studies.

Acknowledgements

List of Illustrations

Introduction: Hans-Thies Lehmann and Since: Debates in Postdramatic Theatre and Performance
Lehmann and this Book/Passage towards the Postdramatic/The Dramatic-Postdramatic ‘binary’/The Poetics of Presence/Postdrama and Politics/The Chapters


1. Theorizing and Contextualizing India’s Postdramatic

Adaptation as Contribution/Predramatic versus Postdramatic/India’s Postdramatic/Occasions and Contexts (Autonomous Women’s Movement/Cold War, Globalization, Theatre Practice/Mediatization of Society and Use of Technology in Theatre/Intercultural and Inter-Artistic Engagements, Training, Influences/Theatre Festivals, Pedagogy, Entrepreneurship)/Endnote



2. The Non-Dramatic Turn in Indian Theatre
Early Adaptations and Devised Plays



3. India’s Postdramatic I
‘Telling Stories across Forms,’ Theatre and the New Political, Theatre of Scenography



4. India’s Postdramatic II
Monologies and Theatre Solos



5. India’s Postdramatic III
Theatre-as-Event, Reality Theatre, Theatre Installations



6. Activism in India’s Postdramatic Theatre


Conclusion:
Postdrama and Theatre-Making in India


References


Index