ENLIGHT IAS PRELIMS PRO QUESTION: Which Among The
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Contents SEAGULL Theatre QUARTERLY
S T Q Contents SEAGULL THeatRE QUARTERLY Issue 17 March 1998 2 EDITORIAL Editor 3 Anjum Katyal ‘UNPEELING THE LAYERS WITHIN YOURSELF ’ Editorial Consultant Neelam Man Singh Chowdhry Samik Bandyopadhyay 22 Project Co-ordinator A GATKA WORKSHOP : A PARTICIPANT ’S REPORT Paramita Banerjee Ramanjit Kaur Design 32 Naveen Kishore THE MYTH BEYOND REALITY : THE THEATRE OF NEELAM MAN SINGH CHOWDHRY Smita Nirula 34 THE NAQQALS : A NOTE 36 ‘THE PERFORMING ARTIST BELONGED TO THE COMMUNITY RATHER THAN THE RELIGION ’ Neelam Man Singh Chowdhry on the Naqqals 45 ‘YOU HAVE TO CHANGE WITH THE CHANGING WORLD ’ The Naqqals of Punjab 58 REVIVING BHADRAK ’S MOGAL TAMSA Sachidananda and Sanatan Mohanty 63 AALKAAP : A POPULAR RURAL PERFORMANCE FORM Arup Biswas Acknowledgements We thank all contributors and interviewees for their photographs. 71 Where not otherwise credited, A DIALOGUE WITH ENGLAND photographs of Neelam Man Singh An interview with Jatinder Verma Chowdhry, The Company and the Naqqals are by Naveen Kishore. 81 THE CHALLENGE OF BINGLISH : ANALYSING Published by Naveen Kishore for MULTICULTURAL PRODUCTIONS The Seagull Foundation for the Arts, Jatinder Verma 26 Circus Avenue, Calcutta 700017 86 MEETING GHOSTS IN ORISSA DOWN GOAN ROADS Printed at Vinayaka Naik Laurens & Co 9 Crooked Lane, Calcutta 700 069 S T Q SEAGULL THeatRE QUARTERLY Dear friend, Four years ago, we started a theatre journal. It was an experiment. Lots of questions. Would a journal in English work? Who would our readers be? What kind of material would they want?Was there enough interesting and diverse work being done in theatre to sustain a journal, to feed it on an ongoing basis with enough material? Who would write for the journal? How would we collect material that suited the indepth attention we wanted to give the subjects we covered? Alongside the questions were some convictions. -
03 October 2019 Current Affairs Lqcg% 7 Cts@ Mahendra's Youtube Channel
03 October 2019 Current Affairs lqcg% 7 cts @ Mahendra's YouTube Channel • Top-ranked Kento Momota of Japan clinched the men's • January 11, 1966, he took breathed his last in Tashkent, singles tournament. (badminton player ) Uzbekistan. • शीर्ष वरीयता प्राप्त जापान के कᴂ टो मोमोता ने पु셁र् एकल टूनाषमᴂट जीता। • 11 जनवरी, 1966 को उ煍बेपकस्तान के ताशकं द मᴂ उꅍहⴂने अंपतम सांस • Sumit Nagal wons Buenos Aires ATP (Tennis). ली। • Kaushal Dharmamer - Maldives International Challenge • Bharat Ratna Award / भारत र配न स륍मान - 1966 (Badminton) - Mumbai • Book – Lal Bahadur Shastri : Politics and Beyond by Sandeep Shashtri. • Place of Death / मृ配यु स्थल: Delhi, India • Father / पपता: Karamchand Uttamchand Gandhi • Mother / माता: Putlibai Gandhi • Spouse / प配नी: Kasturba Gandhi • The second Prime Minister of India, Lal Bahadur Shastri, whose 115th birth anniversary was celebrated. • भारत के दूसरे प्रधान मंत्री, लाल बहादुर शास्त्री, पजनकी 115 वĂ जयंती मनाई गई। • जꅍम - (2 October 1904 – 11 January 1966) Shastri was born in 1904 in Uttar Pradesh’s Mughal Sarai. • ‘Jai Jawan Jai Kisan’ / जय जवान जय पकसान • Launched the 'Ayushman Bharat Start-Up Grand Challenge' and released a commemorative stamp on the occasion. • यु मान भारत स्टाटष अप लᴂज का शुभारंभ पकया गया र एक स्मारक ाक पटकट जारी पकया। • Andhra Pradesh – Kolattam (Stick Dance), Gobi & Dhimsa. • Assam – Bihu, Jhumur Naach ( Adivasi naach ), Ali Ai Ligang & Bagurumba • Arunachal Pradesh – Bardo Chham, Lion and Peacock dance. • Chhattisgarh – Raut Naach • Gujarat – Garba, Dandiya Ras & Tippani Dance • -
VII STD Social Science Term 3 History Chapter 1 New Religious Ideas and Movements
NEW BHARATH MATRICULATION HIGHER SECONDARY SCHOOL,TVR VII STD Social Science Term 3 History Chapter 1 New Religious Ideas and Movements I. Choose the correct answer: Question 1. Who of the following composed songs on Krishna putting himself in the place of mother Yashoda? (a) Poigaiazhwar (b) Periyazhwar (c) Nammazhwar (d) Andal Answer: (b) Periyazhwar Question 2. Who preached the Advaita philosophy? (a) Ramanujar (b) Ramananda (c) Nammazhwar (d) Adi Shankara Answer: (d) Adi Shankara Question 3. Who spread the Bhakthi ideology in northern India and made it a mass movement? (a) Vallabhacharya (b) Ramanujar (c) Ramananda (d) Surdas Answer: (c) Ramananda Question 4. Who made Chishti order popular in India? (a) Moinuddin Chishti (b) Suhrawardi (c) Amir Khusru (d) Nizamuddin Auliya Answer: (a) Moinuddin Chishti Question 5. Who is considered their first guru by the Sikhs? (a) Lehna (b) Guru Amir Singh (c) GuruNanak (d) Guru Gobind Singh Answer: (c) GuruNanak II. Fill in the Blanks. 1. Periyazhwar was earlier known as ______ 2. ______ is the holy book of the Sikhs. 3. Meerabai was the disciple of ______ 4. philosophy is known as Vishistadvaita ______ 5. Gurudwara Darbar Sahib is situated at ______ in Pakistan. Answer: 1. Vishnu Chittar 2. Guru Granth Sahib 3. Ravi das 4. Ramanuja’s 5. Karatarpur III. Match the following. Pahul – Kabir Ramcharitmanas – Sikhs Srivaishnavism – Abdul-Wahid Abu Najib Granthavali – Guru Gobind Singh Suhrawardi – Tulsidas Answer: Pahul – Sikhs Ramcharitmanas – Tulsidas Srivaishnavism – Ramanuja Granthavali – Kabir Suhrawardi – Abdul-Wahid Abu Najib IV. Find out the right pair/pairs: (1) Andal – Srivilliputhur (2) Tukaram – Bengal (3) Chaitanyadeva – Maharashtra (4) Brahma-sutra – Vallabacharya (5) Gurudwaras – Sikhs Answer: (1) Andal – Srivilliputhur (5) Gurudwaras – Sikhs Question 2. -
UGC MHRD E Pathshala
UGC MHRD e Pathshala Subject: English Principal Investigator: Prof. Tutun Mukherjee, University of Hyderabad Paper 09: Comparative Literature: Drama in India Paper Coordinator: Prof. Tutun Mukherjee, University of Hyderabad Module 09:Theatre: Architecture, Apparatus, Acting; Censorship and Spectatorship; Translations and Adaptations Content Writer: Mr. Benil Biswas, Ambedkar University Delhi Content Reviewer: Prof. Tutun Mukherjee, University of Hyderabad Language Editor: Prof. Tutun Mukherjee, University of Hyderabad Introduction: To be a painter one must know sculpture To be an architect one must know dance Dance is possible only through music And poetry therefore is essential (Part 2 of Vishnu Dharmottara Purana, an exchange between the sage Markandya and King Vajra)1 Quite appropriately Theatre encompasses all the above mentions arts, which is vital for an individual and community’s overall development. India is known for its rich cultural heritage has harnessed the energy of theatrical forms since the inception of its civilization. A rich cultural heritage of almost 3000 years has been the nurturing ground for Theatre and its Folk forms. Emerging after Greek and Roman theatre, Sanskrit theatre closely associated with primordial rituals, is the earliest form of Indian Theatre. Ascribed to Bharat Muni, ‘Natya Sastra or Natyashastra’2 is considered to be the initial and most elaborate treatise on dramaturgy and art of theatre in the world. It gives the detailed account of Indian theatre’s divine origin and expounds Rasa. This text becomes the basis of the classical Sanskrit theatre in India. Sanskrit Theatre was nourished by pre-eminent play-wrights like Bhasa, Kalidasa, Shudraka, Vishakadatta, Bhavabhuti and Harsha.3 This body of works which were sophisticated in its form and thematic content can be equaled in its range and influence with the dramatic yield of other prosperous theatre traditions of the world like ancient Greek theatre and Elizabethan theatre. -
Static GK: Dances in India
For More Study Material Static GK: Dances in India Classical Dance: Classical Dance State Mohiniyattam Kerala Bharatanatyam Tamil Nadu Kathak Uttar Pradesh Kathakali Kerala Kuchipudi Andhra Pradesh Manipuri Manipur Odissi Orissa Chhau West bengal Sattriya Assam Folk Dance: State Folk Dance Andhra Pradesh Kolattam, Gobbi Dance, Dhimsa, Dhamal Dance Assam Bihu, Jhumur Naach, Ali Ai Ligang, Bagurumba Arunachal Pradesh Bardo Chham, Lion and Peacock dance Chhattisgarh Raut Nacha, Gaur Maria Dance, Panthi Join Telegram Channel For More Study Material Gujarat Garba, Dandiya ras, Tippani Dance, Kinnauri Nati, Namgen Goa Tarangamel, Dekhni, Dhalo, Dhangar, Fugdi Haryana Jhumar Dance, Gugga dance, Saang, Teej, Loor dance, Dhamal Dance, Phag dance Himachal Pradesh Luddi dance, Munzra, Kanayala, Giddha Parhaun, Hikat Karnataka Yakshagana, Bayalata, Dollu Kunitha, Veeragaase dance Kerala Theyyam or Kaliyattam, Thullal, Thirayattam, Oppana, Mar- gamkali, Thitambu Nritham, Chakyar Koothu, Chavittu Na- dakam Madhya pradesh Tertali, Charkula, Matki dance, Phulpati dance, Grida dance, Maanch Maharashtra Pavri Nach, Lavani Manipur Thang Ta, Dhol Cholom Mizoram Cheraw dance or Bamboo dance Nagaland Chang Lo or Sua Lua Odisha Ghumura dance, Goti Pua, Nacni, Baagh Naach or Tiger dance, Dalkhai dhap, Karma Naach, Keisabadi Punjab Bhangra, Giddha, Malwai Giddha, Jhumar, Karthi, Kikli Puducherry Garadi Sikkim Singhi Chham Rajasthan Ghoomar, Kalbelia, Bhavai, Kachchhi Ghodi Tamil Nadu Kamandi, Kummi, Kolattam, Karagattam or Karagam, Oyi- lattam, Puliyattam, Mayil Attam or Peacock dance, Pampu Attam or snake dance West Bengal Jatra, Chau, Kathi Join Telegram Channel For More Study Material Lakshadweep Lava Uttar Pradesh Nautanki, Raslila, Jhora, Chhapeli, Jaita Jammu Kashmir Rouf, Chakri Jharkhand Karma Telengana Perini Thandavam, Dappu, Lambadi Tripura Hojagiri, Goria, Lebang Boomani Uttrakhand Chholiya, Jagars, Thali-Jadda, Jhainta, Barada Nat Bihar Kajari, Jaat- Jaatin, Jhijhian, Jhumeri, Souhar- Khilouna Uttrakhand Barada Nati, Bhotiya, Chancheri, Chhapeil Join Telegram Channel . -
Minutes of 32Nd Meeting of the Cultural
1 F.No. 9-1/2016-S&F Government of India Ministry of Culture **** Puratatav Bhavan, 2nd Floor ‘D’ Block, GPO Complex, INA, New Delhi-110023 Dated: 30.11.2016 MINUTES OF 32nd MEETING OF CULTURAL FUNCTIONS AND PRODUCTION GRANT SCHEME (CFPGS) HELD ON 7TH AND 8TH MAY, 2016 (INDIVIDUALS CAPACITY) and 26TH TO 28TH AUGUST, 2016 AT NCZCC, ALLAHABAD Under CFPGS Scheme Financial Assistance is given to ‘Not-for-Profit’ Organisations, NGOs includ ing Soc iet ies, T rust, Univ ersit ies and Ind iv id ua ls for ho ld ing Conferences, Seminar, Workshops, Festivals, Exhibitions, Production of Dance, Drama-Theatre, Music and undertaking small research projects etc. on any art forms/important cultural matters relating to different aspects of Indian Culture. The quantum of assistance is restricted to 75% of the project cost subject to maximum of Rs. 5 Lakhs per project as recommend by the Expert Committee. In exceptional circumstances Financial Assistance may be given upto Rs. 20 Lakhs with the approval of Hon’ble Minister of Culture. CASE – I: 1. A meeting of CFPGS was held on 7 th and 8th May, 2016 under the Chairmanship of Shri K. K. Mittal, Additional Secretary to consider the individual proposals for financial assistance by the Expert Committee. 2. The Expert Committee meeting was attended by the following:- (i) Shri K.K. Mittal, Additional Secretary, Chairman (ii) Shri M.L. Srivastava, Joint Secretary, Member (iii) Shri G.K. Bansal, Director, NCZCC, Allahabad, Member (iv ) Dr. Om Prakash Bharti, Director, EZCC, Kolkata, Member, (v) Dr. Sajith E.N., Director, SZCC, Thanjavur, Member (v i) Shri Babu Rajan, DS , Sahitya Akademi , Member (v ii) Shri Santanu Bose, Dean, NSD, Member (viii) Shri Rajesh Sharma, Supervisor, LKA, Member (ix ) Shri Pradeep Kumar, Director, MOC, Member- Secretary 3. -
List of Selected Junior Candidates and Their Research Topic for the Year 2018-2019
List of Selected Junior Candidates and their Research Topic for the Year 2018-2019 S.No. Name & Address File no. Field Project Title Email Enrolment No Sub Field 1. Ms. Meghana Sardar Kenjale CCRT/JF- Classical The Fundamental concepts of 345, Shukrawar peth, Kenjale building 3rd floor 3/01/2020 Music Dhrupad in Dagarbani Maharashtra District Pune 411002 JF20195909 Hindustani Mobile-9822372468 (Vocal) [email protected] 2. Ms. Shikha Srivastav CCRT/JF- Classical Sangeet K Pramukh Pracheen Lalit Tewari, Sector-C, B-73 Mhanagar, Near 3/02/2020 Music Granthon Ka Adhdhyan Tatha Channilal Chouraha, Lucknow Uttar Pradesh- 226001 JF20196216 Hindustani Vartman Pariprekhsya Mein Mobile-8840824538 (Vocal) Upadeyta [email protected] 3. Ms.Krishna chaudhary CCRT/JF- Classical Research In Music E-1202, Express Zenith Society, Sector 77 3/03/2020 Music Gautam Buddha Nagar Uttar Pradesh – 201301 JF20196600 Hindustani Mobile-9953021995 (Vocal) [email protected] 4. Ms. Anuradha Raturi CCRT/JF- Classical Tantragama Philosophy Of C/O Mr. Ashish Kumar Jaiswal B 15/60 3/04/2020 Music Nada: Indian Classical Music faridpura Opposite Gouriya Math Sonarpura JF20197020 Hindustani Perspective Varanasi Uttar Pradesh 221001 (Vocal) Mobile-9045868756 [email protected] 5. Shri Sambuddha Chatterjee CCRT/JF- Classical Ime Theory Of Hindustani 19, Kali Temple Road, Nimta, Kolkata 24 3/05/2020 Music Raga Paraganas North Tehsil-Barrackpur-ll Village- JF20196844 Hindustani Muragachha(CT) West Bengal-700049 (Vocal) Mobile-8697069313 [email protected] 6. Shri Aranyakumar Munenni CCRT/JF- Classical Wolf Tone Management In C/o Hebsur Bldg 6th Cross, Kalyan Nagar 3/06/2020 Music Dilruba & Esraj Instruments Dharwad Karnataka, 580007 JF20195983 Hindustani Mobile-9911521311 (Instru.) [email protected] 7. -
Birds, Bards, Buffoons and Brahmans
Archipel Études interdisciplinaires sur le monde insulindien 88 | 2014 Varia Birds, Bards, Buffoons and Brahmans : (Re-)Tracing the Indic Roots of some Ancient and Modern Performing Characters from Java and Bali Oiseaux, bardes, bouffons et brahmanes : en retraçant les racines indiennes de certains personnages de spectacle anciens et modernes de Java et de Bali Andrea Acri Electronic version URL: https://journals.openedition.org/archipel/555 DOI: 10.4000/archipel.555 ISSN: 2104-3655 Publisher Association Archipel Printed version Date of publication: 10 October 2014 Number of pages: 13-70 ISBN: 978-2-910513-71-9 ISSN: 0044-8613 Electronic reference Andrea Acri , “Birds, Bards, Buffoons and Brahmans : (Re-)Tracing the Indic Roots of some Ancient and Modern Performing Characters from Java and Bali ”, Archipel [Online], 88 | 2014, Online since 10 September 2017, connection on 27 August 2021. URL: http://journals.openedition.org/archipel/555 ; DOI: https://doi.org/10.4000/archipel.555 Association Archipel VARIA ANDREA ACRI 1 Birds, Bards, Buffoons and Brahmans: (Re-)Tracing the Indic Roots of some Ancient and Modern Performing Characters from Java and Bali 2 Introduction12 On the basis of evidence gathered from Old Javanese textual sources—most notably the 9th-century Old Javanese Rāmāyaṇa kakavin (RK) and the early 13th-century Sumanasāntaka3—and Central Javanese temple reliefs, I have elsewhere proposed to identify some figures of itinerant ascetics-cum-performers (e.g. thevidu s, Old Jav./Skt. vidu)4 as localised counterparts of Indic prototypes, namely low-status, 1. Institute of Southeast Asian Studies, Nalanda-Sriwijaya Centre, Singapore. 2. (1) The spelling of Old Javanese words follows the system used in Acri 2011b, discussed in Acri and Griffiths 2014 (e.g. -
Dr. Simmi Asstt. Professor & Incharge, Deptt. of Dance Educational
Dr. Simmi Asstt. Professor & Incharge, Deptt. of Dance Educational Qualification : M.A. Dance (Gold Medalist), Ph.D, Nritya-Bhaskar, NET Qualified Area of Specialisation & Research : Kathak, Folk Dances, Theatre & Folk Theatre Teaching Experience : More than 18 years (adhoc+permanent) Honored by Governor of Punjab, Sh. O.P. Verma in the year 2005 for the book 'KHAYAL' . Published Work : (a) Books : 5 (3 published, 2 under publication) (b) Research Projects : 5+1(NZCC & 1 UGC MRP 2012-14) (c) Research Papers : 20 (d) World Encyclopedia Entries : 12 published. (e) Articles in different Newspapers : 18 published. Ph.D / MPhil candidates guided/ under guidance: 3 1. One M.Phil submitted. 2. One Ph.D submitted. 3. One Ph.D under guidance. Press Reviews and Interviews : 3 published Presently Assistant Editor in the referred & Peer Reviewed Journal Naad - Nartan (UGC listed). Experience in Stage Performances and Choreographies: International Level Choreographed Jhumar Dance at International Youth Festival (SAUFEST) 2006. Choreographed & organized different cultural evenings for International Conferences. National & State Level: Choreographed Sammi dance for Republic Day Folk Dance Festival held at New Delhi from 24th to 30th January, 2011. Choreographed Classical Dance (Kathak) in many Inter-zonal & zonal Youth festivals securing 1st and 2nd positions. Choreographed Sammi Dance and Gidha in Folk Festivals, Republic Day & Independence Day celebrations. Received Special appreciation and was awarded Best Choreographer award by the Deptt. of Youth Services, Punjab. Choreographed Dance items of 150-200 students on the occasion of Independence Day and Sports Day celebrations. Performed different dances under a troupe sponsored by Department of Cultural Affairs, Punjab for the promotion of the culture of Punjab and National Integration in different cities of Maharastra-Bombay, Latur, Khandala, Jalna, Surat and at Punjabi University Campus. -
Here Has Been a Substantial Re-Engagement with Ibsen Due to Social Progress in China
2019 IFTR CONFERENCE SCHEDULE DAY 1 MONDAY JULY 8 WG 1 DAY 1 MONDAY July 8 9:00-10:30 WG1 SAMUEL BECKETT WORKING GROUP ROOM 204 Chair: Trish McTighe, University of Birmingham 9:00-10:00 General discussion 10:00-11:00 Yoshiko Takebe, Shujitsu University Translating Beckett in Japanese Urbanism and Landscape This paper aims to analyze how Beckett’s drama especially Happy Days is translated within the context of Japanese urbanism and landscape. According to Routledge Encyclopedia of Translation Studies, “shifts are seen as required, indispensable changes at specific semiotic levels, with regard to specific aspects of the source text” (Baker 270) and “changes at a certain semiotic level with respect to a certain aspect of the source text benefit the invariance at other levels and with respect to other aspects” (ibid.). This paper challenges to disclose the concept of urbanism and ruralism that lies in Beckett‘s original text through the lens of site-specific art demonstrated in contemporary Japan. Translating Samuel Beckett’s drama in a different environment and landscape hinges on the effectiveness of the relationship between the movable and the unmovable. The shift from Act I into Act II in Beckett’s Happy Days gives shape to the heroine’s urbanism and ruralism. In other words, Winnie, who is accustomed to being surrounded by urban materialism in Act I, is embedded up to her neck and overpowered by the rural area in Act II. This symbolical shift experienced by Winnie in the play is aesthetically translated both at an urban theatre and at a cave-like theatre in Japan. -
Folk Theatre in India: Role, Needs and Challenges
Wor ld Wide Journal of Multidisciplinary Research and Development WWJMRD 2015; 2(9): 49-51 www.wwjmrd.com Impact Factor MJIF: 4.25 e-ISSN: 2454-6615 Folk Theatre in India: Role, Needs and Challenges Deepak Kumar Deepak Kumar M.A. English, UGC-NET, Panjab University, Abstract Chandigarh, India Folk theatre in the past was instrumental in channelizing newer ideas among the rural masses in their native languages. The ideals of freedom, messages of reform as against child marriage, favouring widow remarriage and girl education were reached out to masses via theater. Even Indian values as truth, sacrifice and love were disseminated via this mode. People in villages, today, do not feel attracted towards folk theatre and it has become an archaic entity representing a dead culture. The present research paper aims to study and examine the reasons for stagnancy in Indian Folk theatre, with relevant examples from folk theatres of some states. It shall suggest the changes that must be incorporated to make this form of art more acceptable, dynamic and progressive. Keywords: Folk, Native, Truth, Sacrifice, Love, Education, Culture, Remarriage, Theatre, Progressive. Introduction Folk theatre has played a great role in infotainment in the past but failed in the present because it did not re-invent itself. It did not modernize its subject unlike its urban counterpart. People also want something besides tales of demons, gods and queens. Any dynamic and progressive change is readily accepted by the society, while static entities are bound to fail in long run. The present research paper traces historical influence of folk theatre on masses and present times with relevant examples from folk theatres of some states, and examines the reasons for stagnancy in present Indian Folk theatre,. -
Appendix: Roster of Emergent Theatre Forms
APPENDIX: ROSTEr OF EMErGENT THEaTrE FOrMS 550–500 BCE—Greek tragedy (Athens) (Hartnoll 607) 500–450 BCE—Greek “Old” Comedy (Athens) (Hartnoll 607) 350–300 BCE—Greek “New” Comedy (Athens) (Hartnoll 551) 250–200 BCE—Comedy and tragedy (Rome) (Banham, Cambridge 936) 250–200 BCE—Mime (Rome) (Duckworth 13) 200–100 BCE—Sanskrit Theatre (India) (Richmond et al. 1990: 27) 150–100 BCE—“Horn butting game” (China) (Dolby, “Early” 11) 50–1 BCE—Pantomime (Rome) (Beacham 142) 500–600 CE—Bukagu/gagaku (Japan) (Leiter 1.67) 600–650—Gigaku (Japan) (Leiter 1.227) 700–750—Canjunxi (Adjutant Play) (China) (Dolby, History 7) 700–750—Tayao niang (Stepping and Swinging Women) (China) (Dolby, “Early” 13) 800–900—Robam kbach boran (lakhon kbach boran) (Cambodia) (Ghulam-Sarwar118) * * * 900–1000—Liturgical theatre (Europe) (Hartnoll 674) 900–1000—Wayang kulit purwa (Indonesia) (Ghulam-Sarwar 276) 900–1000—Gambuh (Indonesia) (Ghulam-Sarwar 79) 900–950—Kuttiyatam (India) (Leiter 1.358) 900–950—Wayang beber (Indonesia) (Ghulam-Sarwar 276) © The Author(s) 2020 305 S. Tillis, The Challenge of World Theatre History, https://doi.org/10.1007/978-3-030-48343-2 306 APPENDIX: ROSTER OF EMERGENT THEATRE FORMS 950–1000—Song (dynasty) zaju (China) (Dolby, History 15) 950–1000—Religious literary drama (Europe) (Banham, Cambridge 501) * * * 1000–1100—Dengaku (Japan) (Leiter 1.154) 1000–1100—Khayāl all-zill (Egypt) (Moreh 47) 1000–1050—Cheo (Vietnam) (Brandon 73) 1050–1100—Wayang topeng (Indonesia) (Ghulam-Sarwar 311) 1050–1100—Sangaku/Sarugaku (Japan) (Ortolani 62–63) * * *