Originally performed at London Hampstead Theatre on 3 December 2013, Howard Brenton’s Drawing the Line dramatizes the Partition of India in two distinct nation-states after the Independence in a lush production that highlights personal conflicts and deflates the genocidal implications of the event that changed the future of the Subcontinent. The essay situates Drawing the Line in the context of Brenton’s lifelong engagement with historical theatre and reflects upon the aesthetic and political significance of the marginal role assigned to violence in the drama. It argues that the play performs a postcolonial discourse on South-Asian history, in which cosmopolitan notions of Britishness, Anglo-Indian relations, and colonial rule are interrogated through an ambiguous dramatic irony that, while deploring British ineptitude in handling the Partition process, in fact represents Partition as a colossal tangle of public and private complicities which mitigates the Raj’s responsibilities and tacitly subscribes to a consolatory determinism.
University of Siena, Italy - ORCID: 0000-0003-2593-593X
Titolo del capitolo
Performing the «miasma» of Indian Partition. Terror and romance in Howard Brenton’s Drawing the Line
Autori
Elena Anna Spandri
Lingua
English
DOI
10.36253/979-12-215-0278-7.10
Opera sottoposta a peer review
Anno di pubblicazione
2023
Copyright
© 2023 Author(s)
Licenza d'uso
Licenza dei metadati
Titolo del libro
La violenza nel teatro contemporaneo
Sottotitolo del libro
Lingue e linguaggi a confronto
Curatori
Paola Bellomi, Carla Francellini, Maria Beatrice Lenzi, Ada Milani, Niccolò Scaffai
Opera sottoposta a peer review
Numero di pagine
152
Anno di pubblicazione
2023
Copyright
© 2023 Author(s)
Licenza d'uso
Licenza dei metadati
Editore
Firenze University Press, USiena Press
DOI
10.36253/979-12-215-0278-7
ISBN Print
979-12-215-0277-0
eISBN (pdf)
979-12-215-0278-7
eISBN (epub)
979-12-215-0279-4
Collana
Studi di letterature moderne e comparate
ISSN della collana
2975-0377
e-ISSN della collana
2975-0229