{"id":401,"date":"2016-03-26T09:29:02","date_gmt":"2016-03-26T09:29:02","guid":{"rendered":"http:\/\/www.seagullindia.com\/stq\/?page_id=401"},"modified":"2016-03-26T12:23:23","modified_gmt":"2016-03-26T12:23:23","slug":"issue-18","status":"publish","type":"page","link":"http:\/\/www.seagullindia.com\/stq\/issue-18\/","title":{"rendered":"Issue 18"},"content":{"rendered":"<blockquote><p><span style=\"color: #808080;\"><img loading=\"lazy\" class=\"alignnone wp-image-370\" src=\"http:\/\/www.seagullindia.com\/stq\/wp-content\/uploads\/2016\/03\/iss18.jpg\" alt=\"iss18\" width=\"181\" height=\"243\" \/><\/span><\/p>\n<p><span style=\"color: #808080;\">June 1998. Editor: Anjum Katyal<\/span><\/p><\/blockquote>\n<pre><span style=\"color: #808080;\">The 'believed-in' theatre Richard Schechner posits as a category emergent in international theatre is premised on the actual: the performers actually belonging to the community the theatre speaks about, the subject matter or content actually being part of the performer's reality and experience.<\/span>\r\n\r\n<span style=\"color: #808080;\">The audience watching traditional theatre knows that it is being 'acted' by 'actors'. Those watching 'believed-in theatre', on the other hand, participate in another kind of sharing -they experience the power of testimony: this is my pain, my life, my history.<\/span>\r\n\r\n<span style=\"color: #808080;\">This aspect of 'believed-in theatre' is also what makes it political and activist: yoking the politics of identity to performance, voicing experience from an 'authentic' position of belonging, challenging normative perceptions from an 'insider's' perspective, demanding a renegotiation of the accepted relationship with the audience.<\/span>\r\n\r\n<span style=\"color: #808080;\">'Believed-in' theatre in India exists, and has done so for a while, albeit without the label and the theorization. As a result of its being discussed within certain parameters, one begins to recognize its existence, its motivations, and its kinship with similar expressions nationally and internationally.<\/span><\/pre>\n<pre style=\"text-align: left;\"><strong><span style=\"color: #808080;\">CONTENTS\r\n<\/span><\/strong><span style=\"color: #808080;\">Believed-in-Theatre :\u00a0An Excerpt\u00a0\r\n<em>Richard Schechner\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">A World Where AND is more Important than OR\u00a0\r\nA discussion with <em>Richard Schechner\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">Responses\r\n<em>Makarand Sathe,\u00a0Richard Schechner\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">'Coming out with Music':\u00a0Building a Gay Community\u00a0\r\n<em>Vikram Iyengar\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">Inside Gayland\r\n<em>Rajesh Talwar\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">The Mylaralinga Tradition\u00a0\r\n<em>S. A. Krishnaiah, M. N. Venkatesh\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">Theatre in Politics\/Politics in Theatre\r\n<em>Bhaskar Chandavarkar\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">'We didn't have any other Life than the Theatre'\r\n<em>B. Jayshree\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">'This is a Play that Kicks Society in the Guts'\r\nAn interview with <em>B. Jayshree\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">A Space for Theatre:\u00a0Prithvi Theatre festival\r\n<em>Sameera Iyengar\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">'Making a Thinking Dancer'\r\nAn interview with <em>Narendra Sharma\r\n\r\n<\/em><\/span><span style=\"color: #808080;\">Theatre Log\r\nThe Action Players' 25th year\r\n\r\nAsom Ranga Katha's Theatre Workshop\r\n\r\nDonga Satteiah:\u00a0An adaption of Charandas Chor\r\n\r\nTheatre Workshop for the Tribals of Telengana\r\n\r\n<span style=\"color: #ff0000;\"><strong><a style=\"color: #ff0000;\" href=\"http:\/\/www.seagullindia.com\/stq\/pdf\/stq18.pdf\" target=\"_blank\">Download the complete issue here<\/a><\/strong><\/span><\/span><\/pre>\n","protected":false},"excerpt":{"rendered":"<p>June 1998. Editor: Anjum Katyal The &#8216;believed-in&#8217; theatre Richard Schechner posits as a category emergent in international theatre is premised on the actual: the performers actually belonging to the community the theatre speaks about, the subject matter or content actually being part of the performer&#8217;s reality and experience. The audience watching traditional theatre knows that &hellip; <a href=\"http:\/\/www.seagullindia.com\/stq\/issue-18\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Issue 18&#8221;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/pages\/401"}],"collection":[{"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/comments?post=401"}],"version-history":[{"count":3,"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/pages\/401\/revisions"}],"predecessor-version":[{"id":608,"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/pages\/401\/revisions\/608"}],"wp:attachment":[{"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/media?parent=401"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}