By Nandi Bhatia
Regardless of its value to literary and cultural texts of resistance, theater has been mostly neglected as a box of study in colonial and postcolonial stories. Acts of Authority/Acts of Resistance seeks to deal with that absence, because it uniquely perspectives drama and function as valuable 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 buildings, because it sought to undo quite a few schemes of political and cultural energy via its engagement with topics derived from mythology, heritage, and on hand colonial types corresponding to Shakespeare. Bhatia's cognizance to neighborhood histories inside a postcolonial framework areas functionality in an international and transcultural context. Drawing connections among paintings and politics, among functionality and daily event, Bhatia exhibits how functionality usually intervened in political debates or even replaced the process politics.One of the 1st Western reviews of Indian theater to hyperlink the aesthetics and the politics of that theater, Acts of Authority/Acts of Resistance combines in-depth archival examine with shut readings of dramatic texts played at severe moments in background. every 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 variations of Shakespeare performs via Indian theater businesses, illustrating the position 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 resources for Acts of Authority, Acts of Resistance: Theater and Politics in Colonial and Postcolonial India
107 This trope of respectability related to space became a powerful one in the melodramatic imagination of nineteenth-century nationalist playwrights , as is apparent in the play Gajadananda and the Prince, written after the visit of the Prince of Wales , later Emperor Edward VII , to Calcutta on December 23 , 1 8 7 5 . During his visit, a Bengali bhadralok, Babu Jagadananda Mukherjee, invited the prince to the zenana. Many Bengalis viewed the prince's glimpse into the zenana of a "respectable" Bengali as a great dishonor and expressed their outrage by attacking the prince's action, and by severely condemning Mukherj ee for encouraging his visit.
The report gave a detailed description of the injustices meted out to the ryots . According to the report, " The planting of Indigo, in the districts of Nuddea , Jessore and Pubna [ was] another protected system, where individuals profit by the property and misery of tens of thousands. "38 The report further stated that if "the planter enjoys the friendship of the Civil Servants, he can oppress, imprison and ill-treat the ryots with impunity. By some planters' orders, villages have been plundered and burned, and individuals killed.
P . Wise, leader of the association and a planter; F . A. Goodenough, secretary o f the Bengal Indigo Company; and Alexander Forbes , editor of Harkaru, met with ] . P. Grant, lieutenant-governor of Bengal , on March 1 3 , 1860, to request the enactment of a special legislation that made breach of indigo contracts punishable by a magistrate . " A. Sconce , a member of the governor-general's legislative council in Bengal and a former j udge at Nadia , introduced the bill on March 24 , 1860. After due deliberations , the governor-general sanctioned the enactment of Act XI of 1 860 " to enforce the fulfillment of Indigo Con tracts .
Acts of Authority, Acts of Resistance: Theater and Politics in Colonial and Postcolonial India by Nandi Bhatia