By Nandi Bhatia
Regardless of its significance 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 principal to the perform of nationalism and anti-colonial resistance.Nandi Bhatia argues that Indian theater was once an important strength within the fight opposed to oppressive colonial and postcolonial buildings, because it sought to undo numerous schemes of political and cultural energy via its engagement with matters derived from mythology, heritage, and on hand colonial types akin to Shakespeare. Bhatia's realization to neighborhood histories inside a postcolonial framework areas functionality in a world and transcultural context. Drawing connections among paintings and politics, among functionality and daily adventure, Bhatia indicates how functionality frequently 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 study with shut readings of dramatic texts played at severe moments in historical past. each one bankruptcy amplifies its topics opposed to the backdrop of particular social stipulations because it examines specific dramatic productions, from The Indigo replicate to diversifications of Shakespeare performs through 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 college of Western Ontario.
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Extra info for Acts of Authority, Acts of Resistance: Theater and Politics in Colonial and Postcolonial India
The printer, H. H. Manuel, was tried but let off on payment of a fine of ten rupees after he named Long for being responsible for circulating the translated play. The controversy that Ni l Darpan generated and the final outcome of the trial are telling statements about the larger colonial processes in the running of the empire . Clearly, the trial resulted more from threats imposed by one colonial group , the missionaries , to the profits of another colonial group , the planters , and the possible obstacles these might pose to the larger mission of empire building, than from the content of the text of the play.
Grant. Otherwise , concluded the Lahore Chronicle, "surely they would not have given them currency at-we repeat the idea-the cost of the state , and 29 Acts ofAuthority/Acts of Resistance under the sign-manual of the Registrar of the Office of the Bengal Secre tariat. "54 The Harharu blamed Seton-Karr for commissioning a "wretched Bengalee to write the slander for him" and then sending it forth "to the world on Her Maj esty's Service . " For such an act, claimed Harharu, Seton Karr was "ruined in character for ever as an Englishman, a Christian, or a gentleman.
1 5 T h e production of indigo involved rampant exploitation. Planters intimi dated ryots (peasants) through extortion, violence, kidnappings , murder, sabotage , destruction of their homes , and sexual assaults on women . 1 6 As well , planters forced ryots to take advances from their masters and sign con tracts to sow indigo . 1 7 In February 1 85 9 , Ashley Eden, magistrate of Barasat, 22 Censorship and the Politics of Nationalist Drama issued a circular making it optional for ryots to enter into contracts for sow ing indigo, allowing them instead the liberty to sow any crop they liked on their own land.