Tom Stoppard’s Plays: Patterns of Plenitude and Parsimony. A Rasa Reader: Classical Indian Aesthetics. “Indian Ink in a Different Key: A Dialogue betweenĬarey Perloff and Tom Stoppard.” Indian Ink: Words on Plays 21 (3): 8–12. “Sites of Desire: Chandrapore-Mayapore-Jummapur: Race, SexualityĪnd Law in Colonial India.” Advances in Literary Study 05 (05): 123–42. Theatre.” Body, Space & Technology 6 (1). “Cold Dark Soft Matter Research and Atmosphere in the “In the Native State and Indian Ink.” In The Cambridge Companion to Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious “In the Native State/Indian Ink: Footnoting the Footnotes on Empire.” Sf.org/content/dam/act/Words on Plays/PDFs/Indian Ink Words on Plays (1999).pdf. Sanįrancisco: American Conservatory Theatre. “English in India: Still All the Raj.” In Indian Ink: Words on Plays, 27–29. Undercurrents in the Plays of Tom Stoppard.” Eclectic Representations 1 (1): 50–57. “Is Stoppard the Last Man Standing Up for God? Religious and Spiritual “The Poetic Theory of Vi?vanatha.” The Journal of Aesthetics and ArtĬriticism 28 (2): 165–76. San Francisco: Asian Art Museum of San Francisco. Stoppard’s Theatre: Finding Order amid Chaos. Ann Arbor: University of Michigan Press.įleming, John. “The Concept of ‘Rasa’ in Sanskrit Dramatic Theory.” Educational Theatre “Head-Scratching in Stoppard’s Arcadia.” The Observer, April 18,ĭace, Wallace. The Dance of ?iva: Fourteen Indian Essays. “Poetic Emotions and Poetic Semantics.” The Journal of Aesthetics and ArtĬriticism 34 (3): 287–99. London: Theosophical Publishing Society.Ĭhari, V. ![]() ![]() Stoppard’s Indian Ink.” Modern Drama 52 (2): 220–37. “Reinventing India through ‘A Quite Witty Pastiche’: Reading Tom Here, in particular, may be seen the emergence of the idea of a Universal Consciousness that transcends space and time, which closely resembles the Vedantic conception of Brahman.īalasaraswati, T. The present essay argues that the play Indian Ink marks the beginning of Stoppard’s continued engagement with the aesthetic and religious philosophy of ancient India. Specifically, the spiritual significance of the rasa theory and its implications for Stoppard’s later work on consciousness has seldom been studied. Even as critical discussions of the play invariably highlight the political and cultural tensions between the East and the West, the elaborate discussions of classical Indian aesthetic theory found in the play have not yet been analysed in depth. Set in both colonial India and contemporary Britain, the play deals with the themes of colonialism, love, and art. The play originated with his idea of wanting to write about the circular situation of a poet who sits for a portrait, while writing about the painting. British playwright Tom Stoppard’s radio play In the Native State (1991) and its stage version Indian Ink (1995) attest to Stoppard’s fascination with the country in which he spent his childhood.
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