Vasudha Dalmia-LOderitz 
 
 
    (1823-1900) in his book:lndia, What Can It Teach Us. London, 1883, p.
54ff. 
    For the dilemma that modern Indian writers faced with problems of identifying

    the Indian tradition and the nature of its continuity see U. R. Ananthamurthy:

    "Search for an Identity. A Viewpoint of a Kannada Writer",
in: S. Kakkar (ed.), 
    Identity and Adulthood. Delhi, 1982. 
27. Cited by Manfred Voigts, Brechts Theaterkonzeptionen. Entstehung und

    Entwicklung bis 1931. M0nchen,1977, p. 178. 
28. These last three expressions have been lifted from the models of theatrical

   communication as drawn up by Keir Elam, The Semiotics of Theater and 
   Drama. London, New York, 1980, pp. 57-62. 
29. Norvin Hein after a long period of study of the cycle of religious K.r.na
plays 
    thus justifies the use of aesthetic categories long out of use: "The
rAsdharis 
    themselves do not classify these dramas in any explicit and widely accepted

    manner. They are not familiar with the ancient science of dramaturgy
and its 
    theory of dominant rasa. However, the ancient Indian way of cultivating

    traditional types of feeling lives on in their work, even in the absence
of the 
    ancient self-consciousness about the matter..The recognizing of these

    dominant emotions is the natural method of classifying the plays. In
naming 
    the categories, we can do no better than to bring into use some of the

    terminology of traditional Indian dramaturgy. The Miracle Plays of Mathura.

    New Haven, London, 1972, p. 164. 
    Similarly Edwin Gerow, otherwise so analytically astute, is averse to

    acknowledging any break or change in tradition: "Can we identify
a vehicle 
    that will bring the rasa from the seventeenth century to our own day?...
The 
    answer is to be sought in the relation between rasa and character, both

    literary and psychological. The rasa has always been determined as a
way of 
    experiencing. Therefore it would not seem difficult to postulate its

    perpetuation as a habit - a form of perception that structures reality
and life. 
    Indeed, the classical psychology proposes such a vehicle to account for
the 
    transmigratory soul: visanh. This disposition or propensity to experience,

    brought slightly up to date, would also serve to characterize the rasa
and 
    account for its psychological potentiality, as well as its crystallization
in 
    certain works of contemporary fiction." (p. 248-249) "Rasa
as a Category of 
    Literary Criticism. What are the limits of its Application", in:
R. Van M. 
    Baumer, James R. Brandon (eds.), Sanskrit Drama in Performance. 
    Honolulu,11981. In contemporary Indian  scholarship this traditional,

    reductionist trend is if anything even more pronounced at times and does
not 
    seek to justify itself. 
30. Rustom Bharucha, Rehearsals of Revolution. The Political Theater of Bengal.

    Calcutta,1983. Specially the section entitled "Brecht in Bengal",
pp. 191-201. 
31. G.P. Deshpande: "Some Perspectives on the Theater of Tomorrow",
in: 
   Journal of Arts and Ideas. Delhi, October-December 1982, pp. 47-57 
   discusses the cleavage between the "elite" and the "rebel"
theater in Bombay. 
 
 
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