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Title: Handbook of Indian Drama in English

Handbook of Indian Drama in English

by Bijender Singh (Volume editor) Protibha Mukherjee Sahukar (Volume editor) Surendra Kumar Sao (Volume editor) Elham Hossain (Foreword)
©2026 Edited Collection XXIV, 468 Pages
The Arts

Summary

This handbook is a meticulously compiled volume on forty-one Indian English plays written by thirty-three Indian playwrights. Each chapter offers a critical analysis of one play written by a distinguished dramatist. The plays chosen span from the ancient classical Sanskrit period to the contemporary era. The volume is divided into four thematic sections and provides a panoramic view of Indian drama in English. It begins with two substantial introductory essays: one on the history and diverse aspects of Indian drama, and another general introduction to the book. This compilation is a pioneering and exhaustive volume solely devoted to Indian drama in English. Its encyclopaedic coverage, scholarly rigour, analytical precision, and eclectic viewpoints make it an essential addition to university libraries and academic repositories for students, research scholars, educators, faculty members, dramaturgs, and general drama enthusiasts.

Table Of Contents


Cover

Half-Title

Title

Copyright

Contents

Foreword

Elham Hossain

Acknowledgements

Chronological Order of Plays

Introduction: Tracing the Trajectory of Indian Drama in English

Bijender Singh

A General Introduction

Bijender Singh, Protibha Mukherjee Sahukar and Surendra Kumar Sao

PART I

Indian Classical and Pre-Independence Drama (Up to 1947)

PART II

Post-Independence and Early Modern Drama(From 1947 to 1980)

PART III

Modern Indian Drama (From 1980 to 2000)

PART IV

Contemporary Indian Drama (2001 Onwards)

Notes on the Contributors

Notes on the Editors

Index

Foreword

Elham Hossain

Drama is the oldest, finest, and most dynamic form of literary expression, a powerful apparatus that can ensure long-term memory retention of any community which practices it. It is almost as old as human civilisation. Drama may be called the ancestral fire of literature due to its primordial roots among all literary genres. Handbook of Indian Drama in English encompasses broader social, political, ethnological, ethnographical, genealogical, and anthropological historicity and aesthetics of Indian drama, and the nuance and gravity that the contributors of this volume have exhibited lucidly emphasise the variegated dimensions and wealth of this branch of Indian literature.

It also offers a discourse which bravely establishes the radicalism, specialty, and individuality of Indian drama. While critiquing colonial and even postcolonial literature in India, drama could not draw as much attention as fiction, poetry, and some other literary genres did. The reasons are many, but people ignored this genre to some extent. I just gladly claim that, in consideration of its range, scope, and focus, this handbook is, of course, a seminal addition to the existing academia, and the editors deserve genuine appreciation for successfully accomplishing this brave and, in consideration of its variegated spectrum, monumental task.

In the terrain of World Literature, Indian Writing in English—with a huge number of internationally acclaimed authors from the first generation, emerging in the first half of the twentieth century in colonial India, to the present era specifically speaking, stretching from R.K. Narayan, Mulk Raj Anand, Raja Rao, to Salman Rushdie, Amitav Ghosh, Anita Desai, Kamala Das, Arundhati Roy, Jhumpa Lahiri, and many more—has contributed to constructing a distinct ambience of literature, widely known as Indian Literature in English. It has, no doubt in terms of its presence in the arena of world literature, aptly, and worthily occupied the centre of the present-day literary epistemology. Indian drama, with its rich heritage and grand tradition, has been ever growing rapidly and powerfully alongside fiction and other literary genres. India has already produced a large group of prominent and influential dramatists who have prolifically written plays that deserve serious attention owing to their aesthetic values and profound dialogism with historicity, embedded within the complex web of ideologies and socio-politico-economic situations.

Burning issues of society—such as communalism, corruption, gender, ecology, humanism, blue humanism, environmental imperialism and diverse themes from political, economic, social, and religious arenas—visit the canvas of Indian dramas. The present anthology endeavours to provide scholars with an extensively cross-sectional view, from pre-Independence classical dramas to modern ones, encompassing variegated areas of immensely scholarly thinking, and it yields powerful insights into the millennium old and outstandingly exclusive Indian art and aesthetics.

No doubt, the seed of drama lies in the day-to-day practice of human beings. It emerges out of the dialogues human beings exchange for communication. The history of Indian drama is remarkable for its antiquity, though it was not in the Vedic era as it is now with its present shape and size. But the art of performance was practiced during the Vedic era (1200–1500 BC). Patañjali’s Mahābhāṣya contains the earliest reference to the seeds of classical Sanskrit drama. The dialecticism of some of the hymns of the Rigveda carries the signs of the embryonic development of the art of performance. Diachronically, Indian drama goes hand in hand with the Indus Valley Civilisation, in parallel with Egyptian and Mesopotamian civilisations. It is, thus, evident that the antiquity of Indian drama is closely analogous with that of the prominent civilisations of the world.

Furthermore, in terms of antiquity, Indian drama is much older than the art of performance of many places of the world, though it is evident that in the past drama was the most practiced form of art among human communities in different parts of the world. In ancient period, even among different ethnic groups of ethnic people living in African Savannah, the art of dialogical communication was widely practiced. In the fables of Aesop, an African slave who lived between 620 BCE and 564 BCE, animals engage themselves in conversation and dramatic situations are created out of the discursive conflict between discourse and counter-discourse. The traditional pedagogy of the African included storytelling. The griots and griotesses would visit different communities and teach the people irrespective of young and old through storytelling, which was mostly dialectical, that is, not one-sided. Questions were invited from the audience and the answers were given by the storytellers. Thus, the ancient pedagogy of Africa was rich in the elements of drama. Its oral culture and tradition on which African civilisation stands bear the traces of dramatic elements. Dancing, singing and different types of physical postures and gestures created and practiced during religious and cultural rituals were considered by the ancient Africans as a means of communication with gods and goddesses. Myths and legends on which African civilisation is founded supplied the elements of drama. Even in Indian tradition, this practice is available among the followers of Sanatan belief system. The ancient Greeks would visit the temple of Dionysus, the God of Wine, on a certain day of the year and sing in chorus. Eventually dialogues were added to this chorus or choric song by Thespis. Consequently, drama took its initial shape which attained its maturity and further advancement in the hands of Aeschylus, Sophocles, Aristophanes, and Euripides. Popular myths and legends contributed to the construction of stories and plots, and the drama, due to its interactive nature, used to respond to the contemporary political, social, and moral crises of the people.

In the same vein, drama in India keeps on its onward expedition dialectically negotiating with the vicissitudes of history. It responded to the political crises and, if needed, it lashed the whip of satire, sarcasm, and criticism upon the back of absurdities and oddities. During the colonial era, drama took up the role of the pedagogy of the oppressed and encouraged the society to pose vehement resistance, and in this vein, drama always remained in favour of the persecuted and the exploited section of people and thus, in the past it contributed to the historical process of upholding democracy and dissent. In the nineteenth century, Indian drama responded to the company rule in India and embraced people with the spirit of patriotism and nationalism. Din Bandhu Mitra’s Nil Darpan (1860) inspired the farmers to protest against the colonial policy of forcing them to sow indigo in their fields instead of food crops, which consequently led to destructive famine, a holocaust which was an inevitable colonising tool inhumanly applied by the colonisers. This drama virtually inspired Girish Ghosh to establish Indian National Theatre in Kolkata in 1872. During the colonial period, Indian dramas significantly contributed to the development of patriotism, nationalism, and anti-colonial resentment among the natives, leading to liberty. Even in postcolonial independent India, Indian drama is revealing lots of areas of epistemic resources, myths, legends, belief system, culture, and political realities, and thus, this genre now deserves a serious hermeneutic approach on the part of the audience as well as readers for the better comprehensibility of its multifaceted implications and impacts. Besides, Indian drama deserves new historicist study as this genre serves as an invincible string bridging the past with the present leading to the future. Actually, originality of anything, whether it is culture or aesthetics or epistemology of a nation, develops through its negotiation with the past and this amalgamation leads to the future, and Indian drama aptly does this job evidently as it is revealed in the explorative works of the contributors of this present volume.

India is a land of aesthetics, and the sophistication and lyrical excellence of its art and literature are deeply reflected in its drama along with other genres. From Ashvaghosha, Bhasa, Shudraka, Kalidas, Harsha, Bhavabhuti, Vishakhadatta, Bhatta Narayana, and Murari to the present-day dramatists such as Dharamvir Bharti, Habib Tanvir, Mohan Rakesh, Chandrashekhar Kambara, Vijay Tendulkar, Girish Karnad, Utpal Dutt, Badal Sircar, Mahesh Elkunchwar, Mahesh Dattani, Manjula Padmanabhan, Bijender Singh, R.M. Prabhulinga Shastry, and Kusum Kumar, the expedition of Indian drama is varied and full of vicissitudes. From the age of Veda down to the present age of cyber technology, Indian drama turns into a treasure trove of social, political, economic, moral, and ethical cognitions and thought process. During the range of the fourth century BC to the thirteenth century AD, Bhasa, Kalidasa, Śūdraka, Harshavardhana, Bhavabhuti, Visakhadatta, Bhatta Narayana, Murari, Rajasekhara, and Jayadeva were the major dramatists in Sanskrit literature. Though Bhasa’s identity and authenticity trigger ideological fluctuations among the Sanskrit pandits, his historicity and authorship are always beyond doubt. Even Kalidasa referred to Bhasa in the prologue to his first dramatic composition Malavikagnimitram. Bhasa’s most remarkable contribution is that he reproduced the Ramayana and the Mahabharata in the easiest dramatic form. In combining the divine and the mortal, Kalidasa (fifth century BCE) exhibited his superb genius in his dramatic creations. Though the historicity of Śūdraka (dated between the first century BC and the seventh century AD) remains uncertain, his dramatic genius is widely acknowledged. Śūdraka’s Mṛcchakaṭikam is considered to be the first social drama in the history of Sanskrit literature. Visakhadatta’s Mudrarakshasa offers an excellent juxtaposition of polity, philosophy, astrology, and logic. Harsavardhana was a great lover of the fine arts and an adept in Buddhist canonical literature. He was a great devotee of the Goddess Saraswati and Priyadarsika, Ratnavali, and Nagananda are his immortal creations. Bhatta Narayana’s Venisamhara is his only dramatic creation. The eighth-century ruler Yashovarman patronised Bhavabhuti and his dramatic creations are Malatimadhavam, Mahaviracharitam, and Uttararamacharitam.

The aforementioned Indian dramatists represent the typical Indians, and that’s why their dramas enunciate the voice of the natives. The people of the Indian subcontinent are instinctively argumentative, and dialecticism is inherent in their disposition. The way people communicate in this region is mostly dialectical, marked by polyphony and polysemy. To reach the truth through argumentation is a very common practice among the natives. Even the pedagogy having been practiced in the subcontinent for millennia is solely dialectical, based on guru-disciple interaction, and the Gurukul in ancient and medieval India used to put emphasis on the construction of knowledge based on mutual argumentation. Problem-solving processes in the bygone day-to-day life would put emphasis on dialogism, and consequently, it paved a thought-provoking way for the participants talking to one another and ultimately came to an impactful end and thus, it would encourage discursive nature of the local knowledge system.

Indian drama, as a whole, defines the diachronic and synchronic dynamics of times and contributes to the folk integration and accelerates democratisation of the local community’s participation in the epistemic process. True, drama, as widely believed, is the most democratic form of writing as it involves the audience or spectators more closely than any other genre of literature, and the dramatists of Indian literature very aptly transform their dramas into the voice of social revolution and tremendous changes essential to cater to the time, not only contemporary but also immemorial. Diverse subject matter such as spirituality, materialism, individual freedom, psychological crisis, social injustice, emotional depth, philosophical undertones, and above all, the essence of time have occupied the canvas of Indian drama. In line with its long history and heritage, it is still turning itself into a platform where people, irrespective of caste and creed, can stand in the spirit of oneness as a singular community, and the name of this community is humanity.

Indian playwrights have made a substantial contribution to the development of Indian drama by fusing innovation with tradition to address social, political and cultural concerns. Poetic plays that examined humanism, social justice, equity and independence were first written by Rabindranath Tagore. These plays include Red Oleanders and The Post Office. While Bharatendu Harishchandra added realism and nationalism to his Hindi works like Andher Nagari, Girish Chandra Ghosh dramatised historical and mythological subjects. In Silence! The Court is in Session and Ghashiram Kotwal, Vijay Tendulkar discussed crucial societal themes such as gender inequality and violence.

In contemporary theatre, Mahesh Dattani’s works, including Final Solutions, Dance Like a Man, Tara, Bravely Fought the Queen, The 30-Day War, Seven Steps Around the Fire, Where There’s a Will, and Colder Than Ice, focus on societal concerns such as communalism and religious intolerance, gender discrimination, sexuality, power dynamics, betrayal, love, and guilt. Badal Sircar condemned existential anguish and social conformity in Evam Indrajit. Girish Karnad’s plays, including Yayati, Tughlaq, Hayavadana, Naga-Mandala, The Fire and the Rain, and Broken Images, explore themes of identity, power, mythology, tradition versus modernity, existential crises, and the complexities of human relationships. Indian theatre was improved by Ratan Thiyam’s Chakravyuha and other works. While Dina Mehta’s Brides Are Not for Burning highlighted the oppression of women, Manjula Padmanabhan’s Harvest condemned human commodification and globalisation. Bijender Singh’s Say No to Suicide: Say Yes to Life is an awareness-raising and thought-provoking play that addresses the psychological and social factors working behind every suicide. It emphasises the value of life and encourages people to stay strong and embrace life instead of death during the toughest moments of life. Poile Sengupta’s Thus Spoke Shoorpanakha and Inner Laws examine women’s roles and family dynamics.

Asif Currimbhoy’s plays, including The Refugee, Goa, The Doldrummers, The Tourist Mecca, The House of Cards, The Hollow Men, and An Experiment with Truth, also address historical, political, and social concerns, exploring themes of identity, colonialism, human rights, and the impact of globalisation. Nissim Ezekiel contributed to modern Indian theatre with pieces such as The Sleepwalkers. Utpal Dutt studied socio-political subjects in Kallol and Surya Shikhar. Current tensions and identity issues are addressed in Abhishek Majumdar’s The Djinns of Eidgah and Kaumudi, while Neelam Mansingh Chowdhry incorporates Punjabi tradition into her dramatic performances. These authors have aptly attempted to reinvent Indian theatre by combining classic tales with the pressing realities of modern life, both synchronically and diachronically.

On the whole, the anthology constructs a whole new set of images of different phases of the historicity and aesthetics of the Indian landscape. Scholars may find chances to look at the nuances of their own self and, at the same time, the self of India while giving a close and intensive perusal to the reflective essays in this volume, and at the end, I believe they will receive a better understanding of Indian drama.

Last but not least, it is hoped that the penetrating insights of this volume will serve as a testament to the growing interconnectedness between pre-Independence and post-Independence Indian spectrums of thought and cognition. No doubt, this volume, comprising forty-one chapters on Indian Drama in English, lays a strong foundation for a fresh assessment, covering a significant portion of Indian literature.

Elham Hossain

Professor, Department of English

Director, Green University Centre for International Affairs

Dhaka, Bangladesh

Introduction: Tracing the Trajectory of Indian Drama in English

Bijender Singh

Human Life is No Less Than a Drama

Human1life, to a great extent, can be compared to a drama because it unfolds daily in new challenges, acts, and scenes, which are replete with various forms of complexities, conflicting emotions, and unforeseen twists. Drama is a unique art form in which there ‘…is no wise maxim, no learning, no art or craft, no device, no action that is not found in drama’ (Ghosh 1951, 15). The metaphorical idea that human life is a drama is not new, as centuries ago, the great dramatist William Shakespeare encapsulated this comparison in his well-known lines in his play As You Like It, ‘All the world’s a stage/And all the men and women merely players/They have their exits and their entrances/And one man in his time plays many parts’ (2005, 72), which provides the true essence of human life. It can make us understand better that human life is just like a drama and we also have to play multiple roles on this planet. We can be the real heroes in our life if we possess the visionary insight to discern and decide like a hero who faces all the challenges, and ultimately, comes out as a winner, as in any drama on stage or in a movie we usually watch on the big screen. However, beyond the poetic interpretations, there are umpteen lesser-known facts that add new insights into our life. In fact, drama serves as a powerful conduit that imparts profound life lessons to us and enriches our understanding of the human experience. It kindles and inspires us to achieve greatness and to pursue higher ideals and loftier ambitions with passion and purpose. Compton Rickett defines drama as ‘an articulate story presented in action’ (1990, 89). Drama is nothing but the artistic enactment of our emotions on stage, reflecting how we respond to various emotions. H.G. Wells encapsulates this idea, stating that drama is ‘an uttermost expression of idealism’ (1985, 90), which captures the quintessence of human dreams, aspirations, and cognitive endeavours.

A closer examination of drama reveals that characters take on various roles in a play according to the demands of the situations, and at times, their roles do not align with their true selves because what they desire and what actually happens often remains unexpected. This dissonance arises because their desires frequently clash with their unpredictable intrinsic nature. That is why human beings also have to adopt distinct identities and play copious roles according to the demands of the situations. We need to adapt ourselves within our family, workplace, and society, in order to perform our roles as dictated by our basic human instincts, keeping in view the restrictions imposed by the society in which we live. This phenomenon is called ‘dramaturgy’,2 where individuals perform different roles to meet societal expectations. This role-shifting may sometimes result in identity confusion. This concept is related to sociology also, where it refers to the theory and practice of dramatic composition or the structural principles of a play. Unlike plays, which follow a predetermined script, human life is unique due to its dynamic and transformative quality. We hold the idea that our lives are mapped out, but in fact, we ourselves write the script of our lives through our actions at different points in time.

Human life oscillates between the flurry of sorrows and happiness, just as tragedy and comedy do in a drama. A play ends with the fall of the curtain, while life ends with death, the ultimate equaliser. Both life and drama have a similar beginning and an end. In drama, people observe every action performed by the protagonist, while in life, individuals are watched, commented on, and judged by society. This phenomenon is known as the ‘audience effect’.3 The release of emotions, actions, recognition, climax, and denouement are integral parts of human life. In drama, we can choose whether to watch it or not, but, in life, we must undergo every transformation, and these transformations often become the cause of human suffering. In fact, this change brings pain in our life. Drama can bring this change in human life because it is deeply connected to human experiences. Faubion Bowers writes in his book Theatre in the East, ‘Drama, being an audiovisual medium of expression, has been a very effective genre in world literature’ (1956, 7). Literature serves as a refuge as it offers wisdom to ease this pain brought about by the new challenges of changes and upheavals of existence.

The Concept of Drama and Its Importance in Literature

Drama is considered one of the oldest, most influential, and most powerful literary genres, and it serves as a foundation of artistic and cultural expression. It is a vital medium for understanding human life and it provides a better understanding of our society. Amrita Sengar writes in her paper ‘Indian Drama in English’, ‘Drama is a composite art in which the written word of the playwright is concretised when it becomes the spoken word of the actor on the stage’ (2013, 1). Human emotions such as joy, sadness, terror, anxiety, fear, conflicts, and insecurity, can be better understood through drama, as it has the unique capacity to reflect the nature of human behaviour. Its appeal resides in its immediacy and capacity to captivate spectators emotionally and intellectually, often blurring the distinction between performance and reality. There is no denying the fact that drama is a mimetic portrayal of human life, combining elements of fiction, reality, and art. It situates characters and images within the framework of space and time, seamlessly blending narrative poetry with visual arts. It is a live presentation brought to life for the audience. Only a limited number of Indian playwrights write in English, as they use a different Indian language as their mother tongue, in which they might be more comfortable to express deep sentiments. Many playwrights write in vernacular languages and later their plays have been translated into English. Thus, both these categories Indian English Drama and Indian Drama in English hold distinct significance. Abdul Matin writes about drama:

The term ‘drama’ is emanated from the Greek word ‘dran’ or ‘draō’, which means ‘to do’ or ‘to act’ means doing some actions. Like other forms of literature, Indian drama dates back to its religious origin. The source of Indian drama is from ancient religious mythologies like the hymns, and dialogues are from Vedas. The earlier drama of India was written in the Sanskrit language. The sources of these plays are Vedas, Rigveda, the Ramayana, and the Mahabharata. There are references to drama in the Mahabharata and the Ramayana. (1989, 1)

M.K. Naik writes in his book Dimensions of Indian English Drama, ‘If Indian Writing in English is the Cinderella of literature in English, Indian Drama in English has dependably been, alongside criticism, one of the twin Cinderella of Indian writing in English’ (1984, 180). As drama is mainly written to be performed and to influence humankind, it holds special importance among all genres in English literature. However, not all plays are written for performance, and not all written plays necessarily reach the stage. All plays are dramas, but not all dramas are plays. Drama is different from other literary genres such as short story collections, biographies, autobiographies, travelogues, poetry or novels. It is brought to life by actors and directors, enhanced by the green room, and experienced by audiences during its performance. This performative aspect allows for multiple interpretations and understandings. Drama has played a significant cultural role in addressing crucial social, political, religious, and moral issues. From ancient Greek tragedies to modern plays, drama has probed the boundaries of human morality, successfully evoking pathos and stimulating thoughts. Drama also serves to provide aesthetic pleasure to the audience. In this context, Shubha Tiwari also writes in her chapter ‘Bharata’s Viewpoint on Drama’, ‘The dramatists present events that generate emotions around them and the readers in return receive aesthetic pleasure’ (2007, 1).

India has a long history of using dramatic traditions to liberate, educate, amuse, and demonstrate how human life can be simplified. The rise of Indian English Drama offers a cross-cultural platform for analysing modern Indian culture and frequently engages in issues that are traditional, modern, global, and regional. Drama is an essential literary and cultural form that employs well-known figures and events to convey complex issues, disseminate ideas, challenge conventional wisdom, and celebrate human tenacity. In this context, Douglas Barnes holds this opinion:

Drama is not an educational frill, an applied ornament that can be dispensed with. It is not merely an extra activity for those students whose high intellectual abilities leave them time and energy for lightweight amusements. Nor is it merely an innocuous way of busying those capable of more abstract intellectual activities. Drama is an essential part of a democratic education. (Barnes 1968, vii)

From its nascent stage, drama has been an integral part of literary expression. It has been intricately connected to human culture and communication for centuries. Its unique ability to portray the complexities of human emotions, conflicts, and societal structures makes it a vital medium for understanding the world. From its origin in ritualistic performances, drama evolved into a more-sophisticated art form that merges dialogues, actions, and spectacles to reflect both the personal and collective human experiences. The power of drama lies in its immediacy, its ability to engage audiences both intellectually and emotionally, and its capacity to blur the line between reality and imagination. Each dialogue makes the audience identify itself with the characters or situations they witness on the stage. Drama has the ability to captivate the audience, evoke strong emotions, and stimulate new thoughts. The distinction between reality, fiction, and mendacity can be better understood through English drama. M.K. Naik writes in his paper ‘The Achievement of Indian Drama in English’:

Drama is a composite art in which the written word of the playwrights attain complete artistic realization only when it becomes the spoken word of the actor on the stage and through that medium reacts on the mind of the audience. A play, in order to communicate fully and become a living dramatic experience, thus needs a real theatre and a live audience. (1977, 180–81)

The critique of theatrical performances has often been severe, with detractors highlighting their perceived negative remarks. According to Bolton, one such critic took his critique further, asserting ‘that the plays are usually pitiful, that they waste a lot of time, that they distract the mind, that they wreak havoc with studies, over-excite the mind and go to the head’ (2007, 46). This perspective underscores a belief that drama, rather than being a constructive art form, could undermine intellectual and emotional balance. Such criticisms reflect a tension between valuing artistic expression and prioritising academic and moral discipline.

Details

Pages
XXIV, 468
Publication Year
2026
ISBN (PDF)
9781803748863
ISBN (ePUB)
9781803748870
ISBN (Hardcover)
9781803748856
DOI
10.3726/b22524
Language
English
Publication date
2026 (February)
Keywords
Theatre in India Indian Drama Indian English Drama Indian Drama in English Indian English Playwrights Contemporary Indian Playwrights Sanskrit to Modern Theatre Handbook of Indian Drama in English Bijender Singh Protibha Mukherjee Sahukar Surendra Kumar Sao
Published
Oxford, Berlin, Bruxelles, Chennai, Lausanne, New York, 2025. xxiv, 468 pp., 1 table.
Product Safety
Peter Lang Group AG

Biographical notes

Bijender Singh (Volume editor) Protibha Mukherjee Sahukar (Volume editor) Surendra Kumar Sao (Volume editor) Elham Hossain (Foreword)

Bijender Singh, MPhil, PhD (India), PhD (USA), DLitt, UGC-NET, U-SET, M-SET, HP-SET, H-TET, is a PhD Co-supervisor in the Department of English at Shri Jagdishprasad Jhabarmal Tibrewala University, Jhunjhunu, Rajasthan, India. He is the Editor-in-Chief of The Expression: An International Multidisciplinary e-Journal. He has published a total of forty-five books with reputed national and international publishers. Protibha Mukherjee Sahukar, MPhil, PhD, is the Principal of Durga Mahavidyalaya, Raipur (affiliated to Pandit Ravishankar Shukla University). She holds an MPhil and a PhD from Pandit Ravishankar Shukla University, Raipur, Chhattisgarh. She has five books to her credit, two of which are internationally published. She has over thirty-six years of academic experience. Surendra Kumar Sao, MA, MPhil, PhD, is the Principal of Late Shri Jaidev Satpathi Government College, Basna, Mahasamund, Chhattisgarh, which is affiliated to Pandit Ravishankar Shukla University, Raipur. His books have been published by both national and international publishing houses. He has also served as an editor for several national and international anthologies.

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Title: Handbook of Indian Drama in English