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  • Cited by 2
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    This article has been cited by the following publications. This list is generated based on data provided by CrossRef.

    SENGUPTA, ASHIS 2012. Staging Diaspora: South Asian American Theater Today. Journal of American Studies, Vol. 46, Issue. 04, p. 831.


    Bose, Neilesh 2009. Sharuk and Shylock: The creation of a South Asian American aesthetic. South Asian Popular Culture, Vol. 7, Issue. 3, p. 195.


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SOUTH ASIAN AMERICAN THEATRE: (UN/RE-)PAINTING THE TOWN BROWN

Abstract

In his second year at the University of California, Berkeley, Arthur William Ryder (1877–1938), the Ohio-born Harvard scholar of Sanskrit language and literature, collaborated with the campus English Club and Garnet Holme, an English actor, to stage Ryder's translation of the Sanskrit classic Mrichchhakatikam, by Shudraka, as The Little Clay Cart. The 1907 production was described as “presented in true Hindu style. Under the direction of Garnet Holme, who … studied with Swamis of San Francisco … [and] the assistance of many Indian students of the university.” However, in the twenty-five-plus cast, there was not a single Indian actor with a speaking part. The intended objective was grandeur, and the production achieved that with elaborate sets and costumes, two live zebras, and elephants. Seven years later, the Ryder–Holme team returned with Ryder's translation of Kalidasa's Shakuntala, “bear cubs, a fawn, peacocks, and an onstage lotus pool with two real waterfalls.” While the archival materials do not indicate the involvement of any Indian actors (barring one Gobind B. Lal, who enacted the Prologue), its importance is evinced by the coverage it received in the Oakland Tribune, the Overland Monthly and Out West Magazine, and the Los Angeles Times.

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Theatre Survey
  • ISSN: 0040-5574
  • EISSN: 1475-4533
  • URL: /core/journals/theatre-survey
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