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Huju: Traditional Opera in Modern Shanghai (review)

Huju: Traditional Opera in Modern Shanghai (review) looked like me was a demon . . . I am the Lord's real messenger . . ." (p. 181). As Chandola then turns his reader's attention to Rajkhet's sense of the developing plan to partition India, and the inevitable dread settles on the text, one yearns for evidence that the story of the Muslim Hanuman is, in fact, true, and not a poignant fiction, after all. The final chapter, "1947­48," recasts the moment of independence, the blood of partition, and the death of Gandhi, through village experience with an elegance of style that lifts some weight from events almost exhausted by the burden they've carried as the birth of a nation. The very good reason to read Chandola's book is for this village perspective of history, even if the village and its inhabitants are not historical in the strict sense. One might also read The Second Highest World War as in introduction to ram lila theatre in India, but better as a literary introduction than an introduction to the performance form. Chandola's translation gives a clear and simple retelling of the Ram story, which appears every fall on stages all over India, and in this regard the http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Asian Theatre Journal University of Hawai'I Press

Huju: Traditional Opera in Modern Shanghai (review)

Shen, Jing.
Asian Theatre Journal , Volume 21 (2) – Jul 30, 2004
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Publisher
University of Hawai'I Press
Copyright
Copyright © 2004 The University of Hawai'i Press.
ISSN
1527-2109
Publisher site
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Abstract

looked like me was a demon . . . I am the Lord's real messenger . . ." (p. 181). As Chandola then turns his reader's attention to Rajkhet's sense of the developing plan to partition India, and the inevitable dread settles on the text, one yearns for evidence that the story of the Muslim Hanuman is, in fact, true, and not a poignant fiction, after all. The final chapter, "1947­48," recasts the moment of independence, the blood of partition, and the death of Gandhi, through village experience with an elegance of style that lifts some weight from events almost exhausted by the burden they've carried as the birth of a nation. The very good reason to read Chandola's book is for this village perspective of history, even if the village and its inhabitants are not historical in the strict sense. One might also read The Second Highest World War as in introduction to ram lila theatre in India, but better as a literary introduction than an introduction to the performance form. Chandola's translation gives a clear and simple retelling of the Ram story, which appears every fall on stages all over India, and in this regard the

Journal

Asian Theatre Journal – University of Hawai'I Press

Published: Jul 30, 2004

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