UNIVERSIDAD DE MURCIA Departamento De Filología Inglesa
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UNIVERSIDAD DE MURCIA Departamento de Filología Inglesa Shakespeare, Bollywood and Beyond Shakespeare Transnacional: Su presencia en Bollywood y en la Diáspora Dª. Rosa María García Periago OMNP= To Manolo ACKNOWLEDGEMENTS My primary thanks are for my supervisor Dra. Dña. Clara Calvo López for her support, encouragement, constructive comments and useful feedback for this dissertation. I also have to thank her for always believing in me and in my potential, since she first met me when I was a 2 nd year undergraduate student. She has always been very open-minded to all my ideas and suggestions, and it has been very rewarding to work under her supervision. I also have to thank my tutors during my research stays at Queen’s University Belfast, SOAS (School of Oriental and African Studies) and at King’s College (London), since this project would not have been the same without them. Prof. Mark Thornton Burnett (Queen’s University Belfast) provided me with the necessary background and style to write the dissertation. His careful reading along the way, constructive comments and illuminating conversations were crucial in the early stages of this dissertation. Prof. Rachel Dwyer (SOAS) taught me a considerable part of what I know of Bollywood cinema. I thank her for her enthusiasm, brilliance, interesting comments, but, above all, for letting me attend her Bollywood cinema classes and for encouraging me to learn Hindi language. Last, but not least, I owe thanks to Dr. Sonia Massai for her availability, her kindness and her help. This dissertation would not have been possible without the generous support on FPU scholarship granted by the Ministerio de Educación y Ciencia. Part of the research for this dissertation was done under the auspices of the research projects EDU2008- 00453 (Culturas de la Conmemoración: El Tercer Centenario de Shakespeare (1916) y la Idea de Europa), and FFI2011-24347 (Culturas de la Conmemoración II: Recordando a Shakespeare), financed by the Ministerio de Ciencia e Innovación. I am also grateful to the Literature department at the University of Murcia, especially to Prof. Ángel Luis Pujante Álvarez-Castellanos, with whom I have had the pleasure of sharing many hours teaching the 5 th year literature subjects. Obviously, I also owe thanks to those colleagues who I often see at conferences and who always provide me with excellent feedback. Of course, my research colleagues deserve a special notice in this dissertation. We have spent so many hours working at the research students’ office, sharing good and bad moments, that I feel this project is also part of them. My special thanks are addressed to my husband, Manolo, to whom this volume is dedicated. His endless love, support and patience have been crucial for the completion of this project. I am also grateful to my family, especially my parents, my grandmother and my brother since their encouragement and love have been necessary to the development of this dissertation. Finally, this volume has also been made possible by the support of numerous friends: Marina, Gemma, Álvaro, Peter, Ju, Carmen and Mar. They have provided patience, energy, but, above all, love. My wonderful students also have to be included here. Their energy, enthusiasm and generosity every day remind me of the reasons why I love this job so much. Table of Contents Table of Contents List of Illustrations ..........................................................................................................4 Introduction .....................................................................................................................6 I. SHAKESPEARE IN INDIA .....................................................................................26 Chapter 1: Shakespeare in Colonial and Post-colonial India ....................................26 1. The Colonial Period ............................................................................................................ 29 1.1. Shakespeare in English ............................................................................................ 29 1.2. Free adaptations of Shakespeare: The Parsi Theatre, An In-Between Case ............ 34 1.3. Indianising Shakespeare ............................................................................................... 39 2. Transition and post-colonial period: Ambivalence towards Shakespeare ........................... 50 Chapter 2: ‘Bollywoodizing’ Shakespeare ..................................................................66 1. The origins ...................................................................................................................... 68 2. Before the Millennium: Shakespeare ‘the ghost’ ............................................................ 71 2.1. The Romeo and Juliet formula ..................................................................................... 72 2.2. Mistaken identities ....................................................................................................... 80 2. 3. Taming the ‘Westernised’ heroine .............................................................................. 84 3. Post-Millennial ‘Collage’ ................................................................................................ 88 3.1. Acknowledged adaptations .......................................................................................... 89 3.2. Shakespearean citations ................................................................................................ 95 Conclusion ............................................................................................................................... 98 Chapter 3: Theorizing Diaspora ................................................................................100 1. Population movements .................................................................................................. 102 2. Displacement ................................................................................................................. 108 3. Hybridity ....................................................................................................................... 112 4. Cultural Flows ............................................................................................................... 117 Conclusion ............................................................................................................................. 120 II. ADDRESSING THE DIASPORA ........................................................................122 Chapter 4: “Quitting Shakespeare: Diaspora and Long-distance Nationalism in Bombay and 1942: A Love Story ” ...............................................................................122 1 Table of Contents 1. Romance ........................................................................................................................ 124 2. Politics ........................................................................................................................... 132 3. Gender ........................................................................................................................... 143 4. Distribution and reception ............................................................................................. 148 Conclusion ............................................................................................................................. 153 Chapter 5: Shakespeare on the Move: .......................................................................155 Farhan Akhtar’s Dil Chahta Hai ...............................................................................155 1. Migration ....................................................................................................................... 157 2. Queer readings ............................................................................................................... 164 3. Genre ............................................................................................................................. 170 4. Reception ....................................................................................................................... 176 Conclusion ............................................................................................................................. 179 Chapter 6: Transnationalising Shakespeare and Bollywood in ..............................181 Vishal Bhardwaj’s Maqbool and Omkara ..................................................................181 1. Genre ............................................................................................................................. 184 2. Displacement ................................................................................................................. 204 3. Mobility ......................................................................................................................... 216 4. Distribution and reception ............................................................................................. 221 Conclusion ............................................................................................................................. 226 III. BEYOND BOLLYWOOD ...................................................................................228 Chapter 7: Parodying Bollywood, Parodying Shakespeare: ...................................228 Deepa Mehta’s Bollywood/Hollywood ........................................................................228 1. Clichés ..........................................................................................................................