Researching and Documenting the Theatrical Journey of Gurcharan Das’ Larins Sahib Madhuramozhi.V, Research Scholar, Bharathiar University, Coimbatore, and Dr
========================================================================== Language in India www.languageinindia.com ISSN 1930-2940 Vol. 18:10 October 2018 India’s Higher Education Authority UGC Approved List of Journals Serial Number 49042 ===================================================================== Researching and Documenting the Theatrical Journey of Gurcharan Das’ Larins Sahib Madhuramozhi.V, Research Scholar, Bharathiar University, Coimbatore, and Dr. R. Palanivel, Retired Professor and Head, Bharathiar University, Coimbatore ======================================================================== Abstract Theatre is a kaleidoscopic venture which nestles itself in the present moment that sparks the fresh remembrance of the past and the anticipation of the future. To live our present effectually, an understanding of the social, political, cultural and economic milieu of the past is required. Since theatre is a way of life, by revisiting the past performances and tracing the knowledge it transmits, we can understand the traditions and influences of the past and improvise our present. Indian English dramatic texts have been extensively analysed but the performance of the plays, its different contexts, script, dramaturgy, audience and its significance has hardly been spoken about. The other hindrance is the absence of appropriate methodology. This paper endeavours to document the theatrical journey of Gurcharan Das’ play, ‘Larins Sahib’ through an appropriate methodology. Keywords: Documentation, Gurcharan Das, Indian English Plays, Larins Sahib, Performance Research, Theatre history, Theatre Group, Punjab, Neeta Mohindra. Rangtoli, Rahul Da Cunha, Tom Alter, Rajit Kapur, Madras players Introduction Theatre is a living social discourse. It is a potent tool to promote ideas, debates, energise communities, attack institutions from a safe fictional arena, employ humour, spectacle, ridicule, emotion and to engage spectators in social affairs. It is truly a community art form which is immediate and elusive.
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