Critical Essays on British South Asian Theatre

List of Illustrations                                                                      Contributors                                                                               

Introduction                                                                                  

1. British Asian Theatre: the Long Road to Now, and the Barriers in-between, Naseem Khan

2. Images on Stage: a Historical Survey of South Asians in British Theatre before 1975, Colin Chambers

3. Bridging Divides: the Emergence of Bilingual Theatre in Tower Hamlets in the 1980s, Susan Croft

4. Experiments in Theatre from the Margins: Text, Performance and New Writers, Rukhsana Ahmad

5. Dramatising Refuge(e)s: Rukhsana Ahmad’s Song for a Sanctuary and Tanika Gupta’s Sanctuary, Christiane Schlote

6. Directing Storytelling Performance and Storytelling Theatre, Chris Banfield

7. Engaging the Audience: a Comparative Analysis of Developmental Strategies in Birmingham and Leicester since the 1990s, Claire Cochrane

8. Patriarchy and Its Discontents: the ‘Kitchen-Sink Drama’ of Tamasha Theatre Company, Victoria Sams

9. The Marketing of Commercial and Subsidised Theatre to British Asian Audiences: Tamasha’s Fourteen Songs, Two Weddings and a Funeral (1998 and 2001) and Bombay Dreams (2002), Suman Bhuchar

10. Mixing with the Mainstream: Transgressing the Identity of Place, Jerri Daboo

11. Between Page and Stage: Meera Syal in British Asian Culture, Giovanna Buonanno

12. Imagine, Indiaah ... on the British Stage: Exploring Tara’s ‘Binglish’ and Tamasha’s Brechtian Approaches, Chandrika Patel

13.  British Asian Live Art: motiroti, Stephen Hodge

14. On the Making of Mr Quiver, Rajni Shah              

Notes                                                                           

Bibliography  

Index                                                                           

‘These two books do all of us interested in the evolution of British theatre a valuable service’
‘These two books are complementary, accessible, rigorous and an exciting read.’
‘the editors and contributors have succeeded in bringing the uninterrupted history of South Asian theatre in this country, in all its multifaceted glory, into the light.’ (Theatre Notebook, Volume 67(2), 2013, Hassan Mahamdallie)