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Contents
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acknowledgments ix author’s note xv abbreviations xix 1. Postcolonial Frames and the Subject of Modern Indian Theatre 1 pa r t i The Field of Indian Theatre after Independence 2. The Formation of a New “National Canon” 21 3. Authorship, Textuality, and Multilingualism 54 4. Production and Reception: Directors, Audiences, and the Mass Media 85 5. Orientalism, Cultural Nationalism, and the Erasure of the Present 127 pa r t i i Genres in Context: Theory, Play, and Performance 6. Myth, Ambivalence, and Evil 165 contents 7. The Ironic History of the Nation 218 8. Realism and the Edicce of Home 268 9. Alternative Stages: Antirealism, Gender, and Contemporary “Folk” Theatre 310 10. Intertexts and Countertexts 352 a p p e n d i x e s 1. The Program of the Nehru Shatabdi Natya Samaroh (Nehru Centenary Theatre Festival), New Delhi, 3–17 September 1989 391 2. Major Indian Playwrights and Plays, 1950–2004 392 3. Major Indian Theatre Directors, 1950–2004 397 4. Key Productions of Some Major Post-Independence Plays 399 5. Productions, Mainly in Hindi, by Three Contemporary Directors 403 6. Productions by Ten Contemporary Directors and Theatre Groups 407 7. Modern Urban Transmissions of the Mahabharata: The Principal Genres 418 8. The Euro-American Intertexts of Post-Independence Drama and Theatre 420 9. Prose Narratives on the Stage 434 10. Brecht Intertexts in Post-Independence Indian Theatre 436 notes 439 bibliography 449 index 463 viii Genres in Context ...