In Dialogue with Histories: The Dancer and the Actress: Bishnupriya Dutt
Such historical generalization is an attempt to overcome the problem of experiential process of performative practices. It is important in this context to study the process of confrontation, marginalization, even combat but also the remains of residual histories of performance and theatrical experience of the traumas. The combats are potentially violent processes at work
and the short spaces of the presence of both at points of time in history need to be explored as important historical sites. For example, the actress (in colonial times) required a narrative text to exalt her superiority over the dancer (in the very same space) while the debates regarding restrictions, prohibitions and censorship were initiated and ongoing. More relevant but historically problematic is the defence of the silent voice, that of the dancer and the dialogue between the ‘dancer’ and the ‘actress’ through their actual stage encounters.