Exploring the Folk Theatrical Space in North India: Performance Dynamics and Cultural Significance

Abstract

Existing performance postulations and the dramatic conventions of North Indian folk theatres share an undeniable affinity. An analysis of the dramatic principles underlying North Indian folk theatres reveals that the premises of these folk theatrical performances are founded on the very hypotheses that form the core of contemporary performance theory. While it is true that in modern times there has been a concerted effort to return to the simplicity and purity of things that were a part of the human ambience prior to the industrial age, the rise of performance theories and their affinity with folk theatrical practices warrant greater scrutiny. A shift towards performance is concurrent with a shift towards decentralization in nearly every aspect of human existence, including the social, cultural, and economic spheres. Recognizing the diversity and multiplicity of life as a result of this transition is part of a drive towards hybridity and heterogeneity. Thus, a transition towards performance is not merely a return-to-nature gesture; rather, it is an acknowledgement of previously neglected theatrical principles. The present study seeks to differentiate itself from the existing body of research on North Indian folk performance studies through its dedicated attention to the sociocultural and communicative dimensions inherent in North Indian folk theatres. In so doing, it endeavours to present an exclusive vantage point that both augments and extends the prevailing body of scholarship within this domain. Furthermore, the paper aspires to conduct a comparative scrutiny by juxtaposing these North Indian folk theatrical traditions against their Western counterparts, shedding light on the singular characteristics that define North Indian folk theatrical praxes.