The book explores how Maoist cultural troupes moving out of the People's War into the peace process used cultural programmes as a tool to enroll their audience into the changing political project. What emerges is an account of what it means to perform theatre and live by theatre.
The book explores how Maoist cultural troupes moving out of the People's War into the peace process used cultural programmes as a tool to enroll their audience into the changing political project. What emerges is an account of what it means to perform theatre and live by theatre.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Monica Mottin teaches at Ruskin College, Oxford, and is research associate at the School of Languages, Cultures and Linguistics, School of Oriental and African Studies, University of London.
Inhaltsangabe
List of tables, Figures and boxes Acknowledgements 1. Theatre and life: theatre at the intersection of art, politics and international development 2. Spacing out to dpeak up: resistance, protest and the emergence of street theatre 3. The streets become the stage: performance, protest and theatre in a time of political crisis 4. Kachahari Natak: fragments of an aesthetics of theatre for social change 5. Activism not development work: explorations in Tharu kachahari natak 6. A cultural army for a cultural revolution: Maoist cultural programmes and revolutionary theatre 7. The ordinariness of the special: towards the professionalization of theatre work 8. Conclusions Bibliography Index.
List of tables, Figures and boxes Acknowledgements 1. Theatre and life: theatre at the intersection of art, politics and international development 2. Spacing out to dpeak up: resistance, protest and the emergence of street theatre 3. The streets become the stage: performance, protest and theatre in a time of political crisis 4. Kachahari Natak: fragments of an aesthetics of theatre for social change 5. Activism not development work: explorations in Tharu kachahari natak 6. A cultural army for a cultural revolution: Maoist cultural programmes and revolutionary theatre 7. The ordinariness of the special: towards the professionalization of theatre work 8. Conclusions Bibliography Index.
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