Free Ebook Stages of Life: Indian Theatre Autobiographies (Anthem Studies in Theatre and Performance), by Kathryn Hansen
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The vanished world of India’s late-colonial theatre provides the backdrop for the autobiographies in this book. The life-stories of a quartet of early Indian actors and poet-playwrights are here translated into English for the first time. These men were schooled not in the classroom but in large theatrical companies run by Parsi entrepreneurs. Their memoirs, replete with anecdote and humor, are as significant to the understanding of the nationalist era as the lives of political leaders or social reformers.
- Sales Rank: #5199348 in Books
- Published on: 2013-12-01
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x 1.00" w x 5.50" l, 1.10 pounds
- Binding: Paperback
- 392 pages
Review
‘These four autobiographies of artists and writers who shaped the Parsi theatre at its peak are as riveting as the fare that the theatre itself provided, and Kathryn Hansen’s lifelong and perceptive involvement with their rumbustious enterprise infuses every word of her translation of these texts.’ —Girish Karnad, award-winning playwright, screenwriter, actor and director
‘Kathryn Hansen has given us a special kind of book – one with many voices, on many layers, which cohere in a single, satisfying picture, enriched by the author’s considerable knowledge of this theatre. This well-produced text presents original thinking about a number of topics, including autobiographical writing in India, its history, and first-person narratives as a form of cultural memory. The narratives themselves, which lie at the heart of the book, are lovingly translated, combining humour, flare and intimacy.’ —Stuart Blackburn, School of Oriental and African Studies, University of London
‘‘Stages of Life’ is a unique book, providing vivid insiders’ portraits and incisive commentary on a colorful and lively period in India’s urban culture. Hansen’s ground-breaking research and sharp interpretations will be of interest to scholars and students of Indian culture and notions of modernity in general.’ —Peter Manuel, John Jay College and the Graduate Centre, CUNY
About the Author
Kathryn Hansen is a leading scholar of South Asian theatre history, especially the Hindi and Urdu vernacular traditions of North India.� She has authored ‘Grounds for Play: The Nautanki Theatre of North India’, translated ‘The Parsi Theatre: Its Origins and Development’, and co-edited ‘A Wilderness of Possibilities: Urdu Studies in Transnational Perspective’. She holds the position of Professor in the Department of Asian Studies at the University of Texas at Austin.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Inaccuracies
By Dr. L. J. F. Ashdown-hill
I haven't read the whole book, but it contains inaccuracies. I was absolutely amazed when someone drew my attention to the fact that it alleges that my Anglo-Indian great grandmother, Mary Jane Fenton, who was born in Landour on 7 September 1846, later become an actress in India! (p. 16). The book contains other inaccuracies about Mary's life history. For example, Mary's father, Mathew Fenton (who was killed in the first Sikh War before Mary was born) was NOT Irish (as this book claims). As for Mathew's widow, Janet, she married again soon after Mary was born and baptised at Landour. Janet's new husband was James Feldwick, who then brought Janet - and his stepdaughter, Mary Fenton - back to England. It was in England that Mary then grew up and married. I have a photograph of Mary - and I look after her grave in Brighton!
0 of 0 people found the following review helpful.
Overview of Indian life, culture and economy in the 19th Century
By Salim A. Jetha
This book is a very readable account of life in India as the various regions gradually began to form an "Indian" culture that is distinct from the many local or regional cultures. The autobiographies are held together with commentary by the author at the beginning of each chapter and also with helpful notes to provide context for readers that might miss nuances in the stories. The book is interesting for students of history, economics, communal relations, political science and also religion. All of these aspects of life in India during the 19th Century are evident in the stories of these major participants in the theater world. Bollywood is a success story for diversity due to the culture of meritocracy that was introduced in the entertainment world of Parsi Theater. Parsi entrepreneurs bring Muslim entertainers to an industry that could not be financially viable without an appeal to the Hindu mass audiences who are attracted by religious themes in plots and in accompanying music. This is still a theme in modern India where minorities are proportionately represented in Bollywood in far higher percentages than in the population as a whole. This book is lucidly written with a flow that comes from a scholarly writer (that carefully notes her sources) with a flair that makes complex subject matter a pleasure to read.
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