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Women in Revolutionary Theatre: IPTA, Labor, and Performance

Women in Revolutionary Theatre: IPTA, Labor, and Performance Abstract: This essay examines the ways in which theatre and dance offer possibilities to reassess the Indian nation-state’s historical failure to recognize women’s labor or grant women equal access to civil liberty. It also explores how performance allows for the emergence of women as empowered subjects in South Asia, in spite of the structural limitations of both colonial and anticolonial thought. By analyzing the contribution of women to both Gandhian and communist forms of nationalism, this essay questions previously established scholarship on the binaries of inner/outer or domestic/public within gendered Indian nationalism, and argues for a crucial third domain, that of women’s embodied resistance, which negotiated conservative and progressive notions of femininity through the body. The activism of women in the Indian People’s Theatre Association (IPTA) and their autobiographical narratives are privileged to reflect on the complex interrelationship between nationalism, embodiment, women’s unrecognized labor, and women’s agency. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Women in Revolutionary Theatre: IPTA, Labor, and Performance

Asian Theatre Journal , Volume 32 (2) – Sep 14, 2015

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Publisher
University of Hawai'I Press
Copyright
Copyright © 2008 The University of Hawai'i Press.
ISSN
1527-2109
Publisher site
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Abstract

Abstract: This essay examines the ways in which theatre and dance offer possibilities to reassess the Indian nation-state’s historical failure to recognize women’s labor or grant women equal access to civil liberty. It also explores how performance allows for the emergence of women as empowered subjects in South Asia, in spite of the structural limitations of both colonial and anticolonial thought. By analyzing the contribution of women to both Gandhian and communist forms of nationalism, this essay questions previously established scholarship on the binaries of inner/outer or domestic/public within gendered Indian nationalism, and argues for a crucial third domain, that of women’s embodied resistance, which negotiated conservative and progressive notions of femininity through the body. The activism of women in the Indian People’s Theatre Association (IPTA) and their autobiographical narratives are privileged to reflect on the complex interrelationship between nationalism, embodiment, women’s unrecognized labor, and women’s agency.

Journal

Asian Theatre JournalUniversity of Hawai'I Press

Published: Sep 14, 2015

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