1st Edition
Ibsen in the Decolonised South Asian Theatre
Introduction
SABIHA HUQ AND SRIDEEP MUKHERJEE
1 Postcolonial Theatre and Ibsen Productions in Pakistan: A Historical Overview
ASGHAR NADEEM SYED
2 Intercultural Assimilation of Contraries in Postcolonial South Asia: Fluctuating Movement of Ibsen’s Corpus
KAMALUDDIN NILU
3 Constructing a New Identity Space for Women in Post-Colony: Sambhu Mitra’s Production of A Doll’s House
AHMED AHSANUZZAMAN
4 Women’s Movement in Pakistan: Tehrik-e-Niswan’s A Doll’s House in Urdu
ISHRAT LINDBLAD
5 Nora and the Politics of Gender in the Postcolonial Performance Space in Sri Lanka
KANCHUKA DHARMASIRI AND KATHIRESU RATHITHARAN
6 Has the Indian “Doll” Really Evolved?: A Doll’s House on Decolonised Indian Stage(s)
SRIDEEP MUKHERJEE
7 Middle-Class Liberal Values and the Bangladeshi National Imaginary: Ibsen’s Ghosts Reconfigured
MANOSH CHOWDHURY
8 By Means of Ibsen: Theatre Amidst Rising Fanaticism in Post-Partition India and Bangladesh
SABIHA HUQ
9 Kamaluddin Nilu’s Three “Peers”: Relocating Henrik Ibsen’s Peer Gynt in South Asian Contemporaneity
IMRAN KAMAL
10 Unheard Voices and Refracted Essence: Bangla Adaptations of An Enemy of the People and The Pillars of Society
TAPATI GUPTA
11 A Doll’s House in Nepal: Rationalising the Appropriation of Putaliko Ghar
MENUKA GURUNG
12 Peer Ghani and Peechha Karti Parchhaiyan: Negotiating Adaptation and Appropriation
ASTRI GHOSH
Index
Biography
Sabiha Huq is Professor of English at Khulna University, Bangladesh.
Srideep Mukherjee is Associate Professor of English at Netaji Subhas Open University, India.
