{"id":443,"date":"2016-03-26T10:15:33","date_gmt":"2016-03-26T10:15:33","guid":{"rendered":"http:\/\/www.seagullindia.com\/stq\/?page_id=443"},"modified":"2016-03-26T10:15:33","modified_gmt":"2016-03-26T10:15:33","slug":"issue-11","status":"publish","type":"page","link":"http:\/\/www.seagullindia.com\/stq\/issue-11\/","title":{"rendered":"Issue 11"},"content":{"rendered":"

\"iss11\"<\/span><\/p>\n

September 1996. Editor: Anjum Katyal<\/span><\/p><\/blockquote>\n

As a colleague pointed out, one kept coming across the word 'politics' at various points in this issue; but what I want to stress is that even when the word 'politics' is absent, the political is so very present. By which I only mean to say that the political imbues every aspect of our lives:our values, the decisions we take, our relationships with others. There are politics of gender. Of culture. Of religion. Of race. And just as there is political action, there is as political inaction -to do nothing can be as much a political act as to do something (this view of the political is, of course, in itself a political position!).\r\n\r\n<\/span>All or which returns me to where I started: all theatre is political. And the theatre worker must accept responsibility for the kind of politics s\/he is identifying with through the theatre s\/he is doing. For there is no such thing as a value-neutral position.<\/span><\/pre>\n
CONTENTS\r\n<\/span><\/strong>Sculpting A Play<\/span>\r\n<\/span><\/strong>Sudhanva Deshpande\r\n\r\n<\/span><\/em>'I really don't know where theatre ends and life begins'\r\nG.P. Deshpande\r\n\r\n<\/em><\/span>Bhramyaman : The travelling theatre of Assam\r\nDr Bhabendranath Saikia\r\n\r\n<\/em><\/span>HA-I-MU: An Opera\r\nPallab Roy\r\n\r\n<\/em><\/span>On Mahesh Dattani's Dance like a Man\u00a0<\/span>\r\nThe politics of production and performance\r\nAngelie Multani\r\n\r\n<\/em><\/span>Telling Sacred Tales : The art of Harikatha\r\nMeera Rammohan\r\n\r\n<\/em><\/span>Street plays for Elections : My Experience\r\nSameer Das\r\n\r\n<\/em><\/span>Response to a Diatribe\r\nSudhanva Deshpande\r\n\r\n<\/em><\/span>Author's Response\r\nParamita Banerjee\r\n\r\n<\/em><\/span>Theatre and a Taste of Childhood for Street Children\r\nRanjana Bhattacharya\r\n\r\n<\/em><\/span>Anandam Cultural Centre : Working with Children\r\nShankar Dutta Gupta\r\n\r\n<\/em><\/span>Pagla Ghora: A Review\r\nParamita Banerjee\r\n\r\n<\/em><\/span>Letters\r\n\r\nDownload the complete issue here<\/a><\/strong><\/span><\/span><\/pre>\n","protected":false},"excerpt":{"rendered":"
September 1996. Editor: Anjum Katyal As a colleague pointed out, one kept coming across the word ‘politics’ at various points in this issue; but what I want to stress is that even when the word ‘politics’ is absent, the political is so very present. By which I only mean to say that the political imbues … Continue reading “Issue 11”<\/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\/443"}],"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=443"}],"version-history":[{"count":1,"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/pages\/443\/revisions"}],"predecessor-version":[{"id":445,"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/pages\/443\/revisions\/445"}],"wp:attachment":[{"href":"http:\/\/www.seagullindia.com\/stq\/wp-json\/wp\/v2\/media?parent=443"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}