Modernism and Change: Indian Theatre, Cinema and Music

Comparative Studies of South Asia, Africa and the Middle East, 2006

PARIPEX INDIAN JOURNAL OF RESEARCH

Before we start to talk about the Modern Indian Theatre, first we should understand the concept of Modern theatre in to- days world. Modernism is an art form which comes from western society during the nineteenth and twentieth century. It focuses on a broad perception of looking into the world. It includes the newly emerging artistic world and social t ra d i t i o n wh i c h ex p e r i m e n t w i t h d i f f e re n t f o r m s . Modernization is a movement or we can say that the artistic revolution where the shape of all art forms changed. In simple words we can say that this Modern art has departed from the traditional art form which it considered outdated or obsolete. Under this new form of art it includes the art, mixture of different art form etc

Rupkatha Journal , 2013

Rupkatha Journal is an international journal recognized by a number of organizations and institutions. It is archived permanently by www.archive-it.org and indexed by EBSCO, Elsevier, MLA International Directory, Ulrichs Web, DOAJ, Google Scholar and other organisations and included in many university libraries

Asian Theatre Journal, 2011

Theatre Research International, 2010

This article offers an overview of theatre research and publication in India. It comes in two parts. The first examines theatre research post-independence (1947) up until the 1990s – a period of new economic thinking and a liberalization of sociocultural values. The second focuses on theatre research and publications from 2000 onwards, identifying ways in which more recent scholarship has been concerned with the concept of modernity in theory and practice; has begun to address questions of form, style, space and performativity; and has explored urgent social issues. What emerges in this overview is a feel for how complex the field of theatre research is in India given its multiculturalism. In concluding it draws attention to current and future challenges for theatre and theatre scholarship posed by issues such as globalization, communalism, terrorism and religious fundamentalism.

Wide Screen, 2014

Sambhāṣaṇ , 2021

This writing looks to detail the interaction between abstract ideas and concrete practices associated with making a film on the tabla musician Ustad Nizamuddin Khan while placing the deccani artistic worldview at its heart. The writing also looks to synthesize a relationship between the Buddhist and Marxist frameworks on the nature of reality, to create a suggestion as to where the film as a work of art may locate itself. More importantly, this writing is an appeal to filmmakers to understand their social position within society, the filmmaker does not exist independently in society but instead, all artistic creations arise through a process of dependent origination which is embedded in their class-caste social circles, philosophical relationship with the mind and external objects, religious affiliations, and ethical factors while making films.

Swati Publications, 2021

Orientalism left a hysteresis effect as our English-educated leaders diminished the vast pluralistic culture into a monolithic Hindu India. They diligently maintained the human degradation in Caste and created Quotas, levels, and sub-levels of the society. We live in a fractured society, and post-colonial modernism is its critical frame. Modernism challenges the reliability of elitist history that gave birth to the structure of the "national-popular" where the claim is: the ideas of the Nationalist elites motivated the people to the arena of "politics" from their "pre-political" state. Gandhi significantly created a vital strategy with 'mass,' using a larger front of the population in his peaceful protests. Since then, the presence of a large mass, the Janata, became a front in post-colonial politics. But this mass, ahistorical as they are, sometimes Hindus sometimes Muslims or Christians, the tribal or the city workers, but they always took the brunt of social maladies. They died in Bengal Famine, once crossed the borders during the Partition of India; now, they are the migrant-workers in millions lost job, shelter, and food, due to the sudden lockdown of the nation in the Covit-19 pandemic. This mass has no profile, never had, but essential in endless Yojanas, Bollywood scripts, and political rhetoric. Modernism has a historical belonging to the west. But ideas always traveled and found another context in new localization. In the Indian context, modernism could not be viewed as a simple translation as much of the realities and innovations have had different challenges. With the larger population outside the cities, modernism is not all urban-centric dialogue, like in Europe. It has its autonomous space and critical expressions, such as in literature, cinema, theatre, music, and contemporary folk expressions; it is a search in academic discourses and the Mantra in all developmental dynamism. Modernism creates ideas and consciousness but does not control individual or social action. However, within change and chaos, the tolling bell is already ringing. In essence, the emergence of corporatization created another sense of 'authenticity,' contextualizing global modernism. As it prioritized the global system, it already foreclosed on the autonomous trends of culture, focusing on transregional expansion. Westernism is yet the central theme where post-modernism flourishes with another connotation, the global modernism.

Revista Canaria de Estudios Ingleses, 2021

The Western image of India has traditionally been based on the attraction of stereotypes like the exotic, the mystical or the spiritual; if this imaginative construct is evident in literature, with examples like Paul Scott’s The Jewel in The Crown and E.M. Forster’s A Passage to India. I suggest that this recreation could also be applicable to cinema through stereotypcal visions that originally appear in films about India. In this article I aim to explain the evolution of Indian cinema as a genre of its own, using postcolonial concepts like ‘mimicry’, ‘hybridity’ or ‘liminality’ discussed by H.K. Bhabha in The Location of Culture (1994), and through the threefold perspective developed by Priyamvada Gopal in The Indian English Novel: Nation, History and Narration (2009).

Life is a long journey of our emotions, sentiments, happiness and grief. Our life hangs between love and joy on one hand and sorrow and pathos on the other. Modern Indian theatre is the real voice of mankind. It comprises not only art, literature, music and dance but also reflects our day to day life. If has a rich treatise since 2000 BC to the 4 th century A.D. the great playwright Bharat Muni pioneered the concept in his writing " Natyashastra ". India has the rich honour to give this treatise to the world. According to the historians Oscar Brockett and Franklin Hildy – " In a theatre rituals typically include elements that entertain or give pleasures, such as costumes and masks as well as skilled performers. As societies grew more complex, these spectacular elements began to be acted out under non-ritualistic conditions. As this occured the first step towards theatre as an autonomous activity were being taken. " (1) All the above said elements are keys to modern Indian theatre. It can easily be traced back to the religions and ritualism of the Aryans. From epic theatre (stories of the Ramayan and the Mahabharat) to the theatre of modern era it is a rich saga of a journey of modern Indian drama and theatre. The earliest form of Indian theatre was the Sanskrit theatre. (2) It gave a divine origin to the Indian theatre contributing it to the Natyaveda created by Lord Brahma. It emerged sometimes between 2 nd century BC and the I century AD and flourished between the I century and the 10 th , which was a period of relative peace in the history of India during with hundreds of plays were written. (03) According to the legends after defeating demons the gods performed their victory in dramatic art. Our rich ancient culture with multi-religions and rituals along with