Bücher von Tulsi Gaddam

Bachelor Thesis from the year 2020 in the subject Theater Studies, Dance, grade: 8.0 = 1,7, University of Groningen (Arts), course: Arts, Culture and Media, language: English, abstract: This thesis aims to answer the following questions: To what extent were the Indian People¿s Theatre Association (IPTA) successful in diminishing the effect of the British colonial shadow in their post-colonial theatre explorations from 1943 to 1948 and how did this lead to the development of modern Indian theatre as an amalgamation of traditional and Western performance forms? In what ways did British colonialism influence the theatre of the IPTA? How did Western forms of theatre merge with pre-existing theatrical traditions in India to create new forms of theatre?With the achievement of political independence in 1947 and the end of British rule, India stepped on to a phase of massive reconstruction of the nation¿. Despite IPTA¿s mission to decolonize the stage and revive traditional forms of Indian theatre, the effect of the colonial shadow/ coloniality cannot be completely erased. This thesis intertwines post- colonial and decolonial perspectives to decipher the amalgamation of Indian and Western theatre traditions that resulted in the creation of new, more contemporary forms of theatre, evident in the work of The Indian People¿s Theatre Association.

Seminar paper from the year 2019 in the subject Art - Installation / Action/Performance Art / Modern Art, grade: 9/10, University of Groningen (Arts), course: Arts, Culture and Media, language: English, abstract: This essay will investigate some theatrical aspects of Robert Wilson¿s work that make up what Lehmann terms "Landscape theatre" and analyze them according to his concept of Post-dramatic theatre articulated in his book "Post-Dramatic Theatre" from 1999. In order to do this, first, the Post-dramatic theory of Lehmann will be examined and the various features that make up Post-dramatic theatre will be scrutinized. Next, Lehmann¿s articulation of Landscape theatre along with three important aspects that it comprises off will be analyzed as post-dramatic performance conventions: the use of ¿images¿, metamorphoses, and the distortion of time. This will be done using predominantly Lehmann¿s theory, as well as input from other theatre scholars and supported by examples from Wilson¿s performances. A conclusion will be drawn regarding how these conventions work together in Wilson¿s work to provide the audience with a true Post-dramatic theatre experience. Robert Wilson is an internationally acclaimed experimental theatre stage director. His style of theatre is referred to as ¿Theatre of Visuals¿ or ¿Theatre of Images¿ coined by New York based critic, Bonnie Marranca (Hurstfield). Since the 1960s, Wilson's productions have had a significant influence on the world of theatre and opera. Theatre of Images is Wilson¿s endeavor at freeing the audience from text specific interpretations, which he found prevalent in Western theatre. He wanted to create theatre where the audience was free to "explore individual meanings from his visual and aural experiences"(Hurstfield).

Seminar paper from the year 2018 in the subject Art - Installation / Action/Performance Art / Modern Art, grade: 8/10, University of Groningen (Arts), course: Arts, Culture and Media, language: English, abstract: In this essay, Grotowki¿s interest in the Avantgarde concept of primitivism in relation to the spiritual healing of the community will be explored through three phases in his work. Poor Theatre, Paratheatre and Theatre of Sources. In addition, an exploration of the phases in Grotowski¿s theories, the evolution of Grotowski¿s performance theories will be analyzed in the context of communal healing of the spirit through ritual and use of primordial forms of theatre. This essay applies an Anthropological approach to Grotowski and his use of ritual as it concerns itself with the relationship between society, theatre and the ideas conceived by the two. This essay explores Grotowski's preoccupation with the Neo-Avantgarde notion of returning to the ¿roots of theatre¿ explored through the phases of Poor Theatre, Paratheatre and Theatre of Sources in order advocate for the ¿spiritual healing¿ of the community. The Avantgarde is an artistic movement which followed Modernism, and can be considered an early phase of Post-Modernism. The Avantgarde can be split into two phases: The Historical Avantgarde, which began prior to World War II, and the Neo-Avant garde, which followed it. The Neo-Avantgarde can be classified as a period of experimentation between the 1950s and 1960s by practitioners such as Jerzy Grotowskiand Richard Schechner. Avant-garde Theatre, defines the ideology as a "philosophical grouping¿linked by a specific attitude to western society, a particular aesthetic approach, and the aim of transforming the nature of theatrical performance" (Innes 4). The defining aspects of the Neo-Avantgarde are the interconnections in ideologies of the practitioners that dominated the movement and the rejection of western conventions and beliefs. This is explored through the actors physical presence, spectator-performer dynamics, the links between theatre and ritual, catharsis and the aspiration to reconnect theatre and life. The underlying concept connecting the aforementioned aspects is that of primitivism, which will be discussed in this essay in the context of Jerzy Grotowski.