Theatre and Religion on Krishna’s Stage: Performing in Vrindavan (Palgrave Studies in Theatre and Performance History)

This book is an examination of the intersection between theature and spirituality in India and sheds light on the popular form of theatre, râs lila. Theatre And Religion On Krishna's Stage Examines The History And Form Of India's Râs Lila Folk Theatre, And Discusses How This Theatre Functions As A Mechanism Of Worship And Spirituality Among Krishna Devotees In India. From Analyses Of Performances And Conversations With Performers, Audience, And Local Scholars, Mason Argues That ŕs Lila Actors And Audience Alike Actively Assume Roles That Locate Them Together In The Spiritual Reality That The Play Represents. Correlating Krishna Devotion And Theories Of Religious Experience, This Book Suggests That The Emotional Experience Of Theatrical Fiction May Arise From The Propensity Of Audiences To Play Out Roles Of Their Own Through Which They Share A Performance's Reality. Theatre Is God -- Krishna, Lila, And Freedom -- Origins Of Child Performers In The Râs Lila -- Acting In The Râs Lila And Real Realism -- Theatre Is Religion: The Acting Audience. David V. Mason. Includes Bibliographical References (p. [183]-189) And Index. Theatre and Religion on Krishna's Stage examines the history and form of India's râs lila folk theatre, and discusses how this theatre functions as a mechanism of worship and spirituality among Krishna devotees in India. From analyses of performances and conversations with performers, audience, and local scholars, Mason argues that ŕs lila actors and audience alike actively assume roles that locate them together in the spiritual reality that the play represents. Correlating Krishna devotion and theories of religious experience, this book suggests that the emotional experience of theatrical fiction may arise from the propensity of audiences to play out roles of their own through which they share a performance's reality--Résumé de l'éditeur Theatre and Religion on Krishnas Stage examines the history and form of India's rs lila folk theatre, and discusses how this theatre functions as a mechanism of worship and spirituality among Krishna devotees in India. From analyses of performances and conversations with performers, audience, and local scholars, Mason argues that rs lila actors and audience alike actively assume roles that locate them together in the spiritual reality that the play represents. Correlating Krishna devotion and theories of religious experience, this book suggests that the emotional experience of theatrical fiction may arise from the propensity of audiences to play out roles of their own through which they share a performance's reality. Theatre and Religion on Krishna s Stage examines the history and form of India's râs lila folk theatre, and discusses how this theatre functions as a mechanism of worship and spirituality among Krishna devotees in India. From analyses of performances and conversations with performers, audience, and local scholars, Mason argues that râs lila actors and audience alike actively assume roles that locate them together in the spiritual reality that the play represents. Correlating Krishna devotion and theories of religious experience, this book suggests that the emotional experience of theatrical fiction may arise from the propensity of audiences to play out roles of their own through which they share a performance's reality Cover -- Series -- Title -- Copyright -- Dedication -- Contents -- List of Figures -- Acknowledgments -- Note on Transliteration -- 1 Introduction: Râs Lila Theatre and Its Implications -- 2 Theatre Is God -- 3 Krishna, Lila, and Freedom -- 4 Origins of Child Performers in the Râs Lila -- 5 Acting in the Râs Lila and Real Realism -- 6 Theatre Is Religion: The Acting Audience -- 7 Conclusion -- Notes -- Bibliography -- Index Front Matter....Pages i-xii Introduction: Râs Lila Theatre and Its Implications....Pages 1-21 Theatre Is God....Pages 23-42 Krishna, Lila, and Freedom....Pages 43-56 Origins of Child Performers in the Râs Lila....Pages 57-82 Acting in the Râs Lila and Real Realism....Pages 83-113 Theatre Is Religion: The Acting Audience....Pages 115-141 Conclusion....Pages 143-158 Back Matter....Pages 159-195