In spite of the granted fact that the corpus of Indian English drama is confined to certain boundaries and does represent only limited aspects and prospects, this anthology, with a very positive effort, desperately tries to promote all the possible and probable hidden discourses lying beneath the popular texts of Indian drama in English. Discourses on Indian Drama in English is written basically through textual analysis, not through the angels of performance studies. Discourses on Indian drama in English have been developed through issue-based theoretical discussion. With special references to Aurobindo, Tagore, Sircar, Tendulkar, Karnad, Hasmi, Dattani and Mahasweta Devi, the readings and re-readings of some popular texts nurture some obvious academic values.
Ankur Konar teaches at Burdwan Raj College, Burdwan, West Bengal. He has authored Cultural Poetics: Poetry, Society, Theory (2012) and Drama, Dattani, Discourse (2013).
In the last few decades the concept was gradually developing that the corpus of Indian Drama in English was confined to certain boundaries and represented limited aspects and prospects. During the last few years the presumtion has been radically challenged and regular attempts have been made to unleash the hidden treasures in the field of Indian Drama in English. My participation in two UGC sponsored conferences - ""Contemporary Trends in Indian Drama: Theory, Practice and Criticism"" organized by Rishi Bankim Chandra College, Naihati in collaboration with West Bengal State University, Barasat, W.B. (27-8 March, 2012) and ""Socio-Cultural Paradigms in Post Independence Indian English Drama"" organized by Nanak Chand Anglo Sanskrit College, Meerut, U.P. (1-2 December, 2012) - enriched me because adequate exploration and clear-cut observation by many eminent speakers on this field helped me to get an editor's eye for this anthology. This book is written basically through textual analysis, not through the angels of performance studies. Discourses on drama have been developed through issue-based theoretical discussion, not theatrical analysis.
My respected teachers of Department of English, University of Burdwan have always guided me and encouraged me. I also thank all the contributors for their unconditional support. My gratitude is to Arati Mitra for giving me another chance to work with her kinetic unit.
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