دانلود کتاب روی صحنه بردن یا به صحنه نبردن تاگور

An introduction to a book is meant to introduce it to its potential readers, that is, to chart out the role it intends to perform. Any worldly-wise person would advise that it is always convenient to perform roles that society chooses for us. For attempts to transgress these roles often trigger society’s ‘discipline and punish’ mechanisms. Seen in the light of that truism, perhaps the best introduction to this book is as an aspiring work of theatre or performance history. However, the fact remains that anyone attempting to write a history of any aspect of Tagore’s life, thought or creative endeavours would have to walk across an unsettling bit of history. That is Tagore’s own stern criticism if not outright rejection of the modern discipline of history. While the expression of such sentiment resides in abandon across his vast literary output, it receives a different degree of dramatic flair in his plays. This is simply because the play, by its very playful situatedness in the liminal space, allows him to articulate his arguments with passion and intensity. It is often not possible to do so in the real world or even through the rational language of official prose without hazarding personal relationships with historian friends. It can be argued that such a play within a play forms the backdrop of Tagore’s play Achalayatan (Inert Institution, 1912).