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- W3134603390 abstract "Abstract The practices brought under the term theater of the roots in postindependent India are often framed as articulating postcolonial resistance as they use ritual and traditional forms in opposition to the practices of realism, naturalism, and tragedy that are deemed to be Western and colonial. The canonical Malayalam and Sanskrit productions of the significant playwright-director from the southern Indian state of Kerala, K. N. Panikkar, has been conceived as a productive site for such a framing of postcolonial resistance. The chapter analyzes how assumptions about theatricality and in certain cases absence of the cleft in the mundane effected by theatricality of both modern theater practices as well as what are categorized as indigenous or traditional practices are at the heart of these claims. Analyzing existing scholarly writings as well as theater discussions centered on the early productions of Panikkar in the vernacular language, the chapter foregrounds the need to historicize theatricality as an object and as discourse in India in the 1960s through 1980s. The chapter shows how it is precisely by the elision of the force of discourses of theatricality and how it opens out the sociopolitical—especially sovereignty and countersovereignty—in the region that an imagined national is instituted. The chapter ends by looking at P. K. Balakrishnan’s analysis of the trilogy of Ramayana plays by Srikanthan Nair foregrounding the potentiality of a specific sonic theatricality—wherein tragic can be felt as a critical tone—that registers a newness troubling the existing worlds of sovereignty and power." @default.
- W3134603390 created "2021-03-15" @default.
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- W3134603390 date "2021-03-10" @default.
- W3134603390 modified "2023-09-23" @default.
- W3134603390 title "Theatricality, Sovereignty, and Resistance" @default.
- W3134603390 cites W2966493868 @default.
- W3134603390 doi "https://doi.org/10.1093/oxfordhb/9780190863456.013.6" @default.
- W3134603390 hasPublicationYear "2021" @default.
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