Bøger af Nandita Dinesh

In times that are rife with complex manifestations of identity politics, writing classrooms across the world are hosting heated debates about what it means for authors to write about experiences outside our own. This book focuses on writing as the act of witnessing when the writers themselves were not present to witness in person.

Writing in-Between embodies one central tenet: that the significance of performative writing might be most powerfully experienced through a collaborative process of meaning making between a text's author and its readers turned co-creators.

"IN A NAMELESS COUNTRY under military occupation, two friends prepare to attend a wedding. The young man is from the occupied region ("This Place"), the woman is from the occupying nation-state ("That Place"). The complicated relationship between these two protagonists with unusual professions--he is a Protest Designer and she is a De-programmer--is tested when, on the eve of the wedding, the occupying power, That Place, formally annexes This Place and declares a curfew. Suddenly finding themselves confined to the same isolated space, the young woman and man try to kill time but inevitably wind up talking about the ways in which the war between their homelands pervades the unexplored and undeniable attraction between them. Will their relationship become another casualty of war? This Place That Place is an evocative debut that functions as a bold allegory for militarized occupations anywhere. As much a visual read as it is a literary one, this brilliant literary debut provides new ways to think about the intersections between the personal and the political; between occupier and occupied; between the kinds of bonds that endure, and those that have no choice but to fracture."--Provided by publisher.

Drawing from Dinesh's findings in Memos from a Theatre Lab: Exploring What Immersive Theatre "Does" and Memos from a Theatre Lab: Spaces, Relationships, & Immersive Theatre, this practice-based-research project, the third in a series of Immersive Theatre experiments in Dinesh's theatre laboratory, considers the impact of duration when using immersive theatrical aesthetics toward educational and/or socio-political objectives. Dinesh frames the third experiment in her New Mexican theatre laboratory by placing its data and analyses in conversation with Information for/from Outsiders: Chronicles from Kashmir: a twenty-four hour long immersive, theatrical experience that Dinesh has been developing with Kashmiri theatre artists since 2013. In doing so, Dinesh seeks to create 'conceptual bridges': between practice and theory; between her experiments in New Mexico and the work that she does in Kashmir; between the generation of frameworks to develop Dinesh's own repertoire as a practitioner-researcher, and the creation of shareable strategies that might be used by other Immersive Theatre scholars, artists, and students.

Drawing from Dinesh's findings in Memos from a Theatre Lab: Exploring What Immersive Theatre "Does" and Memos from a Theatre Lab: Spaces, Relationships, & Immersive Theatre, this practice-based-research project, the third in a series of Immersive Theatre experiments in Dinesh's theatre laboratory, considers the impact of duration when using immersive theatrical aesthetics toward educational and/or socio-political objectives. Dinesh frames the third experiment in her New Mexican theatre laboratory by placing its data and analyses in conversation with Information for/from Outsiders: Chronicles from Kashmir: a twenty-four hour long immersive, theatrical experience that Dinesh has been developing with Kashmiri theatre artists since 2013. In doing so, Dinesh seeks to create 'conceptual bridges': between practice and theory; between her experiments in New Mexico and the work that she does in Kashmir; between the generation of frameworks to develop Dinesh's own repertoire as a practitioner-researcher, and the creation of shareable strategies that might be used by other Immersive Theatre scholars, artists, and students.

A book of plays, and a book about writing and staging plays for Immersive Theater. Through the creation of scripts that place spectator-actors in less explored scenarios within juvenile detention, wartime interventions, and immigration processes, this book provides practical strategies for directors and playwrights who work with immersive aesthetics.

Documenting a theatre project for incarcerated youth in a New Mexico juvenile detention facility, this book presents the script of a play about prison life, and interweaves the author's creative, self-reflective text. The collaborative experience of writing and staging such a play enacted by prisoners frames a discussion of larger social and political themes in the criminal justice system.