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Indian Servitude(s) in Imperial London: Tanika Gupta’s The Empress

  • Christiane Schlote

    Teaches drama and postcolonial literatures and cultures at the University of Basel. She has published extensively on transnational theories and cultures (especially South Asia, Africa, and the Middle East), contemporary British and anglophone drama, global working-class studies, war and commemoration, migration and refugee discourses, petrofiction, postcolonial cityscapes, and Latina/o American and Asian American culture. She is the author of Bridging Cultures: Latino- und asiatisch-amerikanisches Theater in New York (1997) and co-editor of New Beginnings in Twentieth-Century Theatre and Drama (with Peter Zenzinger, 2003), Constructing Media Reality: The New Documentarism (with Eckart Voigts-Virchow, special issue of ZAA, 2008), and Representations of War, Migration and Refugeehood: Interdisciplinary Perspectives (with Daniel Rellstab, 2015).

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Published/Copyright: November 25, 2022

Abstract

Dramatic acts of retrieving marginalised stories and of rewriting imperial history from a transnational perspective have been essential for efforts at decolonising knowledge. In The Empress (2013), Tanika Gupta explores the neglected history of Indian communities and the nexus of imperial labour and mobility in late-Victorian London through interlacing the fictional story of the Bengali ayah Rani and the Indian lascar Hari; the true story of the relationship between Queen Victoria and her Indian munshi Hafiz Mohammed Abdul Karim; and the stories of Westminster’s first Indian MP, Dadabhai Naoroji, and Mohandas Karamchand Gandhi. By foregrounding the urban experiences of diverging Indian servant characters in the sense of a critical cosmopolitanism and by privileging a heterogeneous “history from below,” this article explores how The Empress presents a counterstory to notions of a Dickensian London “full of bonnets and white people” (Royal Shakespeare Company, “Emma Rice”) and a critical intervention in discourses relating to the ethical challenges inherent in the commemoration and teaching of the British Empire.

About the author

Christiane Schlote

Teaches drama and postcolonial literatures and cultures at the University of Basel. She has published extensively on transnational theories and cultures (especially South Asia, Africa, and the Middle East), contemporary British and anglophone drama, global working-class studies, war and commemoration, migration and refugee discourses, petrofiction, postcolonial cityscapes, and Latina/o American and Asian American culture. She is the author of Bridging Cultures: Latino- und asiatisch-amerikanisches Theater in New York (1997) and co-editor of New Beginnings in Twentieth-Century Theatre and Drama (with Peter Zenzinger, 2003), Constructing Media Reality: The New Documentarism (with Eckart Voigts-Virchow, special issue of ZAA, 2008), and Representations of War, Migration and Refugeehood: Interdisciplinary Perspectives (with Daniel Rellstab, 2015).

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Published Online: 2022-11-25
Published in Print: 2022-11-08

© 2022 Walter de Gruyter GmbH, Berlin/Boston

Articles in the same Issue

  1. Frontmatter
  2. Frontmatter
  3. Introduction: Transnational Revision and Rewriting in Tanika Gupta’s Theatre
  4. The Country Wife, Southall Style: Restoration Comedy and the Multicultural Gaze
  5. “Through the Pen to Begin with”: Anticolonial Resistance in Tanika Gupta’s Adaptation of Great Expectations
  6. Indian Servitude(s) in Imperial London: Tanika Gupta’s The Empress
  7. Transadaptation and Bollywoodisation in Tanika Gupta’s Hobson’s Choice and Wah! Wah! Girls
  8. Adapting British Asian Women’s Stories: Tanika Gupta’s Anita and Me
  9. The Politics of Experimental Drama: Unexpected Conformity and Weird Resistance in Alistair McDowall’s Pomona
  10. Anja Hartl. Brecht and Post-1990s British Drama: Dialectical Theatre Today. London: Methuen, 2021, vii + 192 pp., £80.00 (hardback), £72.00 (EPUB/Mobi ebook), £72.00 (PDF ebook).
  11. Ian Ward. The Play of Law in Modern British Theatre. Edinburgh: Edinburgh UP, 2021, 221 pp., £80 (hardback), £75 (PDF ebook).
  12. Selina Busby. Applied Theatre: A Pedagogy of Utopia. London: Methuen Drama, 2022, xv + 247 pp., £72.00 (hardback), £22.49 (paperback), £57.60 (PDF ebook).
  13. Peter Eckersall and Helena Grehan, ed. The Routledge Companion to Theatre and Politics. London: Routledge, 2019, xx + 364 pp., £190.00 (hardback), £39.99 (paperback), £35.99 (ebook).
  14. Michael Billington. Affair of the Heart: British Theatre from 1992 to 2020. London: Methuen Drama, 2021, 303 pp., £25.00 (hardback), £22.50 (ebook).
  15. Alan Read. The Dark Theatre: A Book About Loss. London: Routledge, 2020, viii + 342 pp., £120.00 (hardback), £34.99 (paperback), £29.74 (ebook).
  16. Carina E. I. Westling. Immersion and Participation in Punchdrunk’s Theatrical Worlds. London: Bloomsbury Methuen, 2020, vi + 200 pp., £65.00 (hardback), £21.99 (paperback), £19.79 (PDF ebook).
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