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The genesis of the present work goes back a good two decades and a half, when I first launched upon dissertational research for a PhD at the Centre for German Studies in Jawaharlal Nehru University. Of the many friends and colleagues who have been part of my engagement with theatre since then, and whom I would here like to remember, though none can be held accountable for what I have finally produced, I should like to begin with Anil Bhatti, R.P. Jain, and Rekha Kamath, who provided warm support and encouragement through the many ups and downs of the dissertational process. In the field itself, I had the good fortune to view plays and to interview most of the main participants in the enterprise: Ebrahim Alkzai, Amal Allana, Fritz Bennewitz, B.V. Karanth, M.K. Raina, M.S. Sathyu and Habib Tanvir granted me extensive interviews and allowed me access to much first-hand information that would not have been accessible otherwise. Shyamanand Jalan of Anamika, Kolkata, took time off from a rushed trip to Delhi to talk to me. Kartik Awasthi, Anil Chaudhury, Amitava Das Gupta, Satish Gupta and Vijay Kashyap responded patiently to cross-questioning and discussion. Safdar Hashmi, with his characteristic generosity, came over to my house to talk about the politics of theatre. Anuradha Kapur opened up the world of theatre aesthetics for me, Rati Bartholomew provided sustained intellectual guidance, tactfully balancing many a rashly formed thesis. Karin Pfotenhauer of the Brecht Archive in what was then East Berlin, O. Varkey of the Sangeet Natak Akademi Library and B. Leela Sivaramayya of the National School of Drama Library, were generous with their help and cooperation.
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