Rabindranath Tagore's Drama in the Perspective of Indian Theatre

Mala Renganathan is Professor and Head, Department of English, North-Eastern Hill University, Shillong, India. Arnab Bhattacharya is a professional editor, author and translator, and also a guest lecturer in the Department of Comparative Literature, Jadavpur University, Kolkata, India.

Editors’ Foreword; Section I: The Dramatic Tradition; 1. Rabindranath Tagore: Imagining Nation, Imagining Theatre, Abhijit Sen; 2. Rabindrik-Nritya, Tagore’s New Technique for Indian Dramatic Art: Discourse and Practice, Deepshikha Ghosh; 3. Place and Space in Tagore’s ‘Raktakarabi’ and ‘Muktadhara’, Chandrava Chakravarty; 4. Tagore’s Artistic Rendering of Spiritual Realism in ‘Dak Ghar’, Papiya Lahiri; 5. Tagore and the Indian Tradition of Hasyarasa: A Study in Tagore’s Shorter Humorous Plays, Arnab Bhattacharya; 6. The Comic Genius of Tagore: Interplay of Humour and Reality in ‘Chirakumar Sabha’, Deboshree Bhattacharjee; Section II: Theatre/Performance Tradition; 7. The Unrealized Theatre of Tagore, Dattatreya Dutt; 8. Encounters and Exchanges: An Intercultural Interrogation of Rabindranath Tagore’s Dramaturgy in ‘Muktadhara’, Sarbani Sen Vengadasalam; 9. Performing Chitrangada: From Tagore to Rituparno Ghosh, Debopriya Bannerjee; 10. Visarjan as Performance: A Road towards Ritual Healing, Seetha Vijaykumar; 11. ‘Valmiki Pratibha’ and Its Afterlife, Sharmila Majumdar; 12. Postmodern Subversion and the Aesthetics of Film Adaptation: The Example of ‘Tasher Desh’, Sneha Kar Chaudhuri; Index.