Brecht in Hindi: The Poetics of Response 22. See S.H. Vatsyayan, 'Conflict as a Bridge: Some Aspects of the Fiction of Modern India, in Diogenes, 45, pp. 49-65. 23. GW. 15, pp. 427-8. 24. Versuche uber Brecht, Suhrkamp, Frankfurt, 1978, pp. 37-8. 25. Die Dramaturgic des spaten Brecht, Gottingen, 1977. 26. The existence of 'genuine* India in the peasant countryside was described most graphically and classically by the German Indologist F. Max MuUer (1823-1900) in his book, India, What Can It Teach Us, London, 1883, pp. 54ff. For the dilemma of modem Indian writers faced with problems of identifying the Indian tradition and of the nature of its continuity see U.R. Ananthamurthy, 'Search 72 for an Identity: A Viewpoint of a Kannada Writer', in S. Kakkar (ed.). Identity and Adulthood, Oxford Univ. Press, Delhi, 1982. 27. Cited by Manfred Voigts, Brechts Theatertwnzeptionen. Entstehung und Entwicklung bis 1933,, Fink Munchen,, 1977,, p. 178. 28. These last three expressions have been lifted from the models of theatrical communication as drawn up by Keir Ham, The Semiotics of Theatre and Drama, Methuen, London, New York, 1980, pp. 57-62. 29. Norvin Hein after a long period of study of the cycle of religious Krishna plays, thus justifies the use of aesthetic categories long out of use: 'The rasdharis themselves do not classify these dramas in any explicit and widely accepted manner. They are not familiar with the ancient science of dramaturgy and its theory of dominant rasa. However, the ancient Indian way of cultivating traditional types of feeling lives on in their work, even in the absence of the andent self-consciousness about the matter. .. .The recognizing of these dominant emotions is the natural method of classifying the plays. In naming the categories, we can do no better than to bring back into use some of the terminology of traditional Indian dramaturgy.' SeeThe Miracle Plays of Mathura, Yale Univ. Press, New Haven, London, 1972, p. 164. Similarly Edwin Gerow, otherwise so analytically astute, is averse to acknowledging any break or change in tradition: 'Can we identify a vehicle that will bring the rasa from the seventeenth century to our own day?.... The answer is to be sought in the relation between rasa and character, both literary and psychological. The rasa has always been determined as a way of experiencing. Therefore it would not seem difficult to postulate its perpetuation as a habit — a form of perception that structures reality and life. Indeed, the classical psychology proposes such a vehide to account for the transmigratory soul: vasana. This disposition or propensity to experience, brought slightly up to date, would also serve to characterize the rasa and account for its psychological potentiality, as well as its crystallization in certain works of contemporary fiction.' See 'Rasa as a Category of Literary Critidsm: What are the Limits of its Application?', in R. Van M. Baumer, James R. Brandon (eds.)/ Sanskrit Drama in Performance, Univ. Press of Hawaii, Honolulu, 1981, pp. 248-49. In contemporary Indian scholarship this traditional, reductivist trend is, if anything, even more pronounced at times and does not seek to justify itself. 30. Rustom Bharucha, Rehearsals of Revolution. The Political Theatre of Bengal, Seagull Books, Calcutta, 1983, espedally the section entitled 'Brecht in Bengal', pp. 191-201. 31. G.P. Deshpande, in 'Some Perspectives on the Theatre of Tomorrow', Journal of Arts and Ideas, Delhi, Oct.-Dec. 1982, pp. 47-57, discusses the deavage between the 'elite' and the 'rebel' theatre in Bombay. Journal of Arts Sf Ideas