Fritz Bennewitz in India

Esleben, Joerg; Rolf, Rohmer; John, David G.

doi:10.3138/9781487510893

Cited by 5 publications

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“…His impact on the Global South was enacted less through state-run drama schools and universities than with the help of outside experts. Some, like the East German (GDR) Fritz Bennewitz, came to India and the Philippines directly via the GDR branch of ITI (Esleven, Rohmer, and John 2016); others, like his colleague the academic Joachim Fiebach, worked for extended periods at universities in Nigeria and Tanzania. Sometimes funding was provided by the West German Goethe-Institut, a parastatal organisation that by the early 1970s had overcome its suspicion of the Marxist author and saw him as a way to disseminate German culture abroad.…”

Section: Actors and Agentsmentioning

confidence: 99%

Theatre-historiographical patterns in the Global South 1950–1990

Balme¹

2020

The Routledge Companion to Theatre and Performance Historiography

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This chapter proposes broad outlines of a theatre-historiographical approach to the Global South in full consciousness of the hubris involved in sketching out categories that apply potentially to more than 100 nation-states (between 1950 and 1990 the number increased from 60 to 159, with many of the new members belonging to the Global South according to gross domestic product). It draws on historiographic practices developed by the relatively new disciplines of global history and transnational history and applies these methods of writing history to theatre in the post-1945 period. For the most part, the arts have been ignored by global historians, and perhaps for good reason.They would appear to lie outside or at best on the margins of the parameters of the major themes that concern global historians: the emergence and decline of empires, migration, the spread of and rivalry between capitalist and socialist economic models, histories of commodities, currents of internationalism (e.g. the labour movement or women's rights), and modernisation, to name only the most intensively researched.This chapter proposes that theatre was indeed imbricated in some of these global processes and can be usefully studied from such perspectives.The term Global South is marginally better than its predecessors and competitors to designate those nations that belong to the "Third," "developing," and "post-colonial" world. Arif Dirlik traces the term's origins to the 1970s when it was coined to "describe societies that seemed to face difficulties in achieving the economic and political goals of either capitalist or socialist modernity" (2007, 13). The positioning outside the two main political blocs is crucial because as a term it emerged after the end of the Cold War, largely untinged by the criticism levelled at the "Third World," its main predecessor, via the latter's adoption by the radical left. The Global South finally attained currency through the United Nations (UN) initiative "Forging a Global South" (2003) from whence spawned research centres and academic journals. The journal Global South, founded in 2007 and devoted to literature and culture, defines its subject as those parts of the world that have experienced the most political, social, and economic upheaval and have suffered the brunt of the greatest challenges facing the world under

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Section: Actors and Agentsmentioning

confidence: 99%

Theatre-historiographical patterns in the Global South 1950–1990

Balme¹

2020

The Routledge Companion to Theatre and Performance Historiography

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How Bertolt Brecht Managed to Forge a Defamiliarized World Theater

Luckhurst

2019

A Companion to World Literature

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This chapter argues that Brecht's global influence on the development of political theaters has been complex and diverse but that nuanced reception is hampered by limited translation, an exoticization of Asian countries, and an over‐focus on certain theoretical essays in the West. Free adaptation of plays timed at particular political moments in specific communities has been vitally important for dissemination, and left‐wing writers, directors, dramaturgs, and actors continue to be very important in spreading Brecht's work. Intercultural Brecht projects have increased the artistic exchange of knowledge in the mainstream but work in local non‐English‐speaking communities continues to be under‐researched.

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“And I Have the Same Restlessness Today”: Vijay Tendulkar ‐ A Connected Reading

Bhatawadekar

2019

A Companion to World Literature

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Vijay Tendulkar (1928–2008) was a game‐changing Marathi playwright who brought unprecedented themes and genre experiments to Indian theater. His disturbingly bare depiction of violence and cruelty in power‐ and gender‐relations was both controversial and ground‐breaking. His gritty Hindi screenplays also changed the aesthetics and politics of Indian parallel cinema. In this chapter, I present Tendulkar's work within the concerns of world literature: his universal insights that transcend boundaries, yet linguistic and cultural specificity that grounds him in his region, the continuing circulation, translation, and consumption of his work nation‐ and worldwide, and also his connections to non‐Indian (German) theater. Moreover, I consider Tendulkar's symbiotic and epicentral impact on other artists who went on to establish themselves on the international scene. Finally, to provide a global reader an entry‐point into the vast and shape‐shifting paradigm of world literature, I develop Connected Reading by giving biographical glimpses into Tendulkar's literary obsession and into his reader, in whose global flow Tendulkar is a strong current.

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Fritz Bennewitz in India

Cited by 5 publications

References 0 publications

Theatre-historiographical patterns in the Global South 1950–1990

Theatre-historiographical patterns in the Global South 1950–1990

How Bertolt Brecht Managed to Forge a Defamiliarized World Theater

“And I Have the Same Restlessness Today”: Vijay Tendulkar ‐ A Connected Reading

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