By Nandi Bhatia
Regardless of its significance to literary and cultural texts of resistance, theater has been principally missed as a box of study in colonial and postcolonial reviews. Acts of Authority/Acts of Resistance seeks to deal with that absence, because it uniquely perspectives drama and function as relevant to the perform of nationalism and anti-colonial resistance.Nandi Bhatia argues that Indian theater used to be an important strength within the fight opposed to oppressive colonial and postcolonial constructions, because it sought to undo numerous schemes of political and cultural energy via its engagement with topics derived from mythology, heritage, and on hand colonial types similar to Shakespeare. Bhatia's realization to neighborhood histories inside a postcolonial framework locations functionality in an international and transcultural context. Drawing connections among paintings and politics, among functionality and daily event, Bhatia indicates how functionality usually intervened in political debates or even replaced the process politics.One of the 1st Western stories of Indian theater to hyperlink the aesthetics and the politics of that theater, Acts of Authority/Acts of Resistance combines in-depth archival study with shut readings of dramatic texts played at serious moments in heritage. each one bankruptcy amplifies its subject matters opposed to the backdrop of particular social stipulations because it examines specific dramatic productions, from The Indigo replicate to diversifications of Shakespeare performs by means of Indian theater businesses, illustrating the function of theater in bringing nationalist, anticolonial, and gendered struggles into the general public sphere.Nandi Bhatia is affiliate Professor of English on the collage of Western Ontario.
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Additional info for Acts of Authority, Acts of Resistance: Theater and Politics in Colonial and Postcolonial India
27 As long as the lieutenant governor and his secretary used the play to get some insights into the native mind and circulated copies to their friends as "literary curiosities , " it was all right, said the Englishman, but not at public cost. "We cannot," the newspa per said, " think it in the public interest that a whole class , their wives included, should be disgustingly libelled in order to lend force by the con trast to one sentence in praise of 'our present Governor. ' " 28 The newspaper saw the official publication of the play as the government's endorsement of its contents , and claimed that "certainly no other Government of the civilised world would have done so .
Images of white men assaulting women , they claimed, were detri mental to Hindu women. Hence , after the staging of Surendra-Binodini, the police reported that the drama was "libellous and obscene , " implying that the blood on the girl's sari was the result of an outrageous act against the girl by the European magistrate . The censors also asserted that "as the girl was not married, no Hindu would ever marry her but a fallen one . " 1 15 Conse quently authorities imprisoned the play's author and director on grounds that they used obscene language and "wilfully exhibited to public view an obscene representation of a woman having her saree stained with blood in front, carried in the arms of a man having his shirt stained with blood in front, intending thereby to represent the immediate results of such woman having been defloured [ sic] by such a man .
If my husband takes me to forests and j ungles , or beneath a tree, I will go with him . " Hearing this , they said nothing more Y4 Nrityakali's speech evokes the image of Sita , the heroine of the Hindu epic Ramayana, who too preserved her family's honor by going with her husband 41 Acts ofAuthority/Acts of Resistance Rama to the j ungles during his fourteen years of exile from the kingdom of Ayodhya . Like Sita , Sarma became a feminine model of women of the ramra jya, or the ancient kingdom of the Hindu god Rama .