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Post the colonial exploit in India, colonial productions, through language and culture, were exerted by the destitute as tools of liberation. Shakespeare at his epitome of canonical superiority turns out to be an outré medium to express the feelings of the subaltern. The present paper tries to explore how modern adaptations, which are set in Kerala, of The Tempest by William Shakespeare bare aloft the thoughts of the margins and stand as a vehicle of subverting the power structures.Once postcolonial readings of Shakespeare gained academically as well as popular attention, Caliban became the character to be looked at in The Tempest. Identifying this as the point of departure, this paper analyses Talatum (2016) by Abhilash Pillai and Indian Tempest (2012) by Footsbarn Travelling Theatre group and Abhinaya Theatre Research Centre. Performance and performance space of these plays are oriented to highlight the suppressed. In this regard, both the productions deploy experimental theatre techniques as well as multidisciplinary and multicultural approaches. Sycorax, the invisible rival of Prospero becomes a ubiquitous presence in the performance space of Talatum affirming the alignment with the suppressed.

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