Countering the predominantly literary analysis of Parsi theatre, this chapter
reassesses theatre as the site of many experiments with visual technologies
as the proscenium stage introduced a fixed grammar of the curtain into the
fluid spaces of premodern performance. Framed like a painting, the stage
introduced illusionist painting, directional lighting and lavish costumes to
present stories with verisimilitude, enticing viewers into its world.
Exploring links between Parsi theatre and Ravi Varma’s paintings, the
chapter discusses melodrama as an alternative aesthetic mode that bound
viewers and performers. Finally, it proposes limits to the gaze of darshan
as a visual trope in analyses of theatre and mythological imagery, arguing
that innovative optics of theatre and painting were influenced by and in
conversation with technologies of the spectacle within imperial
In this chapter, the author, through a family history, speaks of how forced exile persists through generations. He narrates the series of events that took place after he left England and moved to United States, including the catastrophic failures of nuclear reactors. The discussion largely focuses on the incidence of cancers caused by exposure to radioactivity in England, and the impact it had on Anglo-American relations. The author also showcases the differences between English and American cultures.
In this chapter, the author discusses the cultural life in Rochester, New York, in the 1920s. The city of the 1920s is often referred to as 'Mr Eastman's town'. Economically, the first three decades of the twentieth century had been described as Rochester's golden age, and the centrality of Eastman-Kodak to the city's prosperity had important cultural consequences. The establishment by George Eastman of the Eastman School of Music and the Eastman Theatre in 1922 was the single most important event marking the 'end of provincialism'. The 'Rochester Renaissance' owed a lot to Eastman's wealth and philanthropy .
In this chapter, the author explains the internment of aliens in Britain during the Second World War. The 'internment of aliens' is a peculiar and rather hysterical measure taken by the British government after Dunkirk. The author describes his father as an alien. He is alien to Britain and to English culture. He came to Britain from Germany in February 1938, was a class C 'enemy alien' (recognised as a genuine refugee, and officially designated a 'friendly' enemy alien). The classifications were made by wartime tribunals set up in Britain in 1939.