Women Performers in Bengal and Bangladesh : Caught up in the Culture of South Asia (1795-2010s)

Covering nearly 225 years, this volume tries to capture a broad spectrum of the situation of women performers from Gerasim Lebedeff's time (1795), who are considered to be the first performers in modern Bengali theatre, to today's time.

Covering nearly 225 years, this volume tries to capture a broad spectrum of the situation of women performers from Gerasim Lebedeff''s time (1795), who are considered to be the first performers in modern Bengali theatre, to today''s time. The moot question is whether the role of women as performers evolved down the centuries. Whether this question will lead us to their subjugation to their male counterparts, producers, and directors has been explored here to give readers an understanding of when, where, by whom the politics began, and, by tracing the footprints, we have tried to understand if the politics has changed, or remains unchanged, or metamorphosed with regard to the woman''s question in the performance discourse. We have explored, in this regard, how her body, mind, and sexuality interacted with and negotiated the phallocentric hierarchy. The essays included are on (i) Baiji/Tawaif culture in eastern and western Bengal; (ii) prostitute/''fallen'' women/ patita, beshya performers; (iii) IPTA and the Naxalbari movement; (iv) group and commercial/professional theatre of Kolkata; (v) women''s position in the theatre of Bangladesh; (vi) Cabaret (with an interview with Miss Shefali) (vii) Jatra; (viii) Baul tradition. (ix) Besides, there are chapters on English, Anglo-Indian, Jew, Nachni performers and the illustrious dancer Amala Shankar, and film-music-dance in general.