Abstract
ABSTRACTThis paper analyses the theatre experiments of Badungduppa theatre (Assam, India). This theatre group is made up of tribal ‘Rabha’ community actors, a director, and theatre workers, and it incorporates the forgotten aesthetics of the community into its theatre practice and actor training. Over time, the Rabha community has been exploited by the mainstream Assamese society in terms representation, development, and cultural space. Badungduppa has come to practise a form of aesthetic assertion inside a broad range of identity conflicts, and at the same time it challenges the popular idea of theatre through its own aesthetics. While reviewing these elements, this article engages in a performance analysis of the play ‘Rather Rashi’, which is also explored in relation to the position of the theatre group and the community it represents in the larger State of Assam.
Published Version
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