000			02774nam a2200217Ia 4500
999			_c214129 _d214129
005			20220216215747.0
008			200208s9999 xx 000 0 und d
020			_a9788170463214
082			_a306.4848095482 SEI
100			_aSeizer, Susan
245		0	_aStigmas of the Tamil stage
260			_aCalcutta
260			_bSeagull
260			_c2005
300			_a439p.
365			_b750
365			_dRS
520			_aA study of the lives of popular theatre artists, Stigmas of the Tamil Stage is the first indepth analysis of Special Drama, a genre of performance unique to the southernmost Indian state of Tamilnadu. Held in towns and villages throughout the region, Special Drama performances last from 10 p.m. until dawn. There are no theatrical troupes in Special Drama; individual artists are contracted "specially" for each event. The first two hours of each performance are filled with the kind of bawdy, improvisational comedy that is the primary focus of this study; the remaining hours present more markedly staid dramatic treatments of myth and history. Special Drama artists themselves are of all ages, castes, and ethnic and religious affiliations; the one common denominator in their lives is their lower-class status. Artists regularly speak of how poverty compelled their entrance into the field. Special Drama is looked down upon by the middle and upper classes as too popular, too vulgar, and too “mixed." The artists are stigmatized: people insult them in public and landlords refuse to rent to them. Stigma falls most heavily, however, on actresses, who are marked as “public women” by their participation in Special Drama. As Susan Seizer's sensitive study shows, one of the primary ways the performers deal with such stigma is through humour and linguistic play. Their comedic performances in particular directly address questions of class, culture, and gender deviations—the very issues that so stigmatize them. Seizer draws on extensive interviews with performers, sponsors, audience members, and drama agents as well as on careful readings of live Special Drama performances in considering the complexities of performers' lives both on stage and off. "Susan Seizer's moving and unique perspective on the fate of popular cultural practices in an age and society dominated by the norms and prescriptions of bourgeois modernity makes her work important and insightful not just for scholars of South Asia but for all those who are interested in the general problematic of popular culture, performance traditions, and modernity globally." --SUMATHI RAMASWAMY, author of The Lost Land of Lemuria: Fabulous Geographies, Catastrophic Histories.
650			_aEthnology-India-Tamil Nadu
942			_cB _2ddc