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oapen-20.500.12657-891792024-04-03T02:24:30Z Chapter Performing the «miasma» of Indian Partition. Terror and romance in Howard Brenton’s Drawing the Line Spandri, Elena Anna Howard Brenton Britishness historical theatre postcolonial discourse Partition of India thema EDItEUR::N History and Archaeology::NH History 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. 2024-04-02T15:48:50Z 2024-04-02T15:48:50Z 2023 chapter ONIX_20240402_9791221502787_148 2975-0229 9791221502787 https://library.oapen.org/handle/20.500.12657/89179 eng Studi di letterature moderne e comparate application/pdf n/a 9791221502787_10.pdf https://books.fupress.com/doi/capitoli/979-12-215-0278-7_10 Firenze University Press USiena Press 10.36253/979-12-215-0278-7.10 10.36253/979-12-215-0278-7.10 bf65d21a-78e5-4ba2-983a-dbfa90962870 9791221502787 USiena Press 3 15 Florence open access
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OAPEN
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English
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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.
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Firenze University Press
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2024
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https://books.fupress.com/doi/capitoli/979-12-215-0278-7_10
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1799945205953069056
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