This thesis examines the twenty-first-century intercultural performance of Shakespeare in Kerala, India. The thesis highlights Shakespeare’s function in invigorating local performing arts traditions that navigate tensions between paradigms of former feudalism, post-Independence democracy and capitalist globalisation. Throughout, individual artistic perspectives in interview illustrate local productions of \(Macbeth\) for indigenous Keralan performing art forms, ranging from the two-thousand-year old kutiyattam to contemporary postmodern Malayalam-language drama. My introduction contextualises these hybrid productions in their global, national, and local historiography, exploring intersections of the sacred, supernatural, and secular; postmodernism and rasa theory; intercultural Shakespeares and Keralan performing arts; and Shakespearean works with Indian literary and theatrical traditions from the colonial to the postmillennial era. Chapter One highlights cultural translation, focusing on kutiyattam artist Margi Madhu’s 2011 \(Macbeth\); Chapter Two discusses cultural collaboration, studying kathakali artist Ettumanoor P. Kannan’s \(Macbeth\) \(Cholliyattam\), 2013; Chapter Three considers cultural fusion, profiling Abhinaya Theatre’s experimental local-language production of \(Macbeth\), 2011. In closing, the thesis underscores the importance of giving a voice to Keralan theatre artists on Shakespeare, recognising the hitherto critically unexamined potential for the meeting point of two great dramatic cultural traditions as a forum, underpinned by residual colonial and Communist legacies, for intercultural discourse.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:707612 |
| Date | January 2017 |
| Creators | Buckley, Thea Anandam |
| Publisher | University of Birmingham |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.bham.ac.uk//id/eprint/7148/ |
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