Overview

Veenapani Chawla is arguably the only practitioner of theatre in India who has fully articulated a theory of the theatre she practices. Exploring her Mumbai plays, the springboard of her later works, this book opens a window to her experiments with modern Indian theatre. Beginning with a write-up on the formation of Adishakti campus, Veenapani's laboratory for theatre arts research, the essays by well-known columnist Geeta Doctor and eminent architect Himanshu Burte throw light on her innovative theatre design, while a conversation with Leela Gandhi unfolds Veenapani's journey from her early days in Mumbai to her present work. Discussing her own concept of 'hybridity' and the idea of impacting the audience by a contagion of consciousness, the volume emphasizes Veenapani's conviction that the vital features that distinguish theatre from the other performing arts and cinema are the live presence of the actor, the 'hereness' of the space which the actor inhabits, and the possibility of using elements like music and lighting as vital signifiers, greatly enriching the meaning of the complete theatrical performance.

Full Product Details

Author:   Shanta Gokhale (, Well-known writer, translator, literary critic; former Arts Editor, The Times of India)
Publisher:   OUP India
Imprint:   OUP India
Dimensions:   Width: 15.00cm , Height: 2.60cm , Length: 22.80cm
Weight:   0.548kg
ISBN:  

9780198097037

ISBN 10:   0198097034
Pages:   288
Publication Date:   December 2014
Audience:   General/trade ,  General
Format:   Hardback
Publisher's Status:   Active
Availability:   To order  
Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us.

Table of Contents

Dedication; Acknowledgements; Foreword by Mahesh Elkunchawar; PART ONE: BEGINNINGS; 1. The Mumbai Years; Shanta Gokhale; 2. Kunti and the Human Voice; Alaknanda Samarth and Veenapani Chawla; PART TWO: THE ADISHAKTI CAMPUS AND TEAM; 1. Architecture and Theatre; Veenapani Chawla; 2. The Good Earth; Geeta Doctor; 3. Home for Theatre; Himanshu Burte; 4. The Core Team; Shanta Gokhale; 5. Come, Work with Me; Sara Joseph; PART THREE: ALL ABOUT SOURCES; 1. Conversations with Leela: All About Sources; Leela Gandhi Interviews Veenapani Chawla; PART FOUR: THEORY AND PRACTICE; 1. Theatre Research and Laboratory Outside the Urb; Veenapani Chawla; 2. Adishakti and its Performance Techniques; Veenapani Chawla; 3. Space and the Actor; Veenapani Chawla; PART FIVE: PERFORMANCE TEXTS, REVIEWS, AND INTERVIEWS; 1. Impressions of Bhima: Performance Text; Veenapani Chawla; 2. Review: Impressivley Funny; Keval Arora; 3. Brhanalla: Performance Text; Veenapani Chawla; 4. Brhannala: Two Liminal Moments; Veenapani Chawla; 5. Review: An Alternative to Western Theatre; Clarissa Oon; 6. Review: The Power of Image; Maura Nguyen Donohue; 7. Ganapati: Performance Text; Veenapani Chawla; 8. Review: Inspired by Tradition; Leela Venkatraman; 9. Review: Thoughts on Creativity and Cultural Politics; M.D. Muthukumaraswamy; 10. The Hare and the Tortoise: Performance Text; Veenapani Chawla; 11. From Aesop to Hamlet: Interview; Anmol Vellani; PART SIX: WORKSHOPS; 1. Hollow as a Drum: Actor Training at Adishakti; Joy Brooke Fairfield; 2. Source of Performance Energy; Ram Ganesh Kamatham; PART SEVEN: THE RAMAYANA FESTIVAL; 1. The Ramayana from Multiple Perspectives; Devina Dutt; 2. The Last Word; Shanta Gokhale; Appendices; Postscript by Shanta Gokhale; Bibliography; About the Editor and Contributors

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Author Information

Shanta Gokhale, formerly Arts Editor, The Times of India (Mumbai), is a well-known writer and translator.

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