In Tom Stoppard's 1995 play 'Indian Ink,' the character of an Indian artist uses the term 'rasa,' which he defines as. A free spirit who lived briefly in India. By Tom Stoppard Teachers’ Resource. Free Theatre, transferring to the West End. 1995 – Indian Ink staged at the Yvonne Arnaud Theatre Guildford.

1. Tom Stoppard Facts
2. Tom Stoppard Arcadia

Flora Crewe, a young poet travelling India in 1930, has her portrait painted by a local artist. More than fifty years later, the artist's son visits Flora's sister in London while her would-be biographer is following a cold trail in India.

The alternation of place and period in Tom Stoppard's play (based on his radio play In the Native State) makes for a rich and moving exp Flora Crewe, a young poet travelling India in 1930, has her portrait painted by a local artist. More than fifty years later, the artist's son visits Flora's sister in London while her would-be biographer is following a cold trail in India. The alternation of place and period in Tom Stoppard's play (based on his radio play In the Native State) makes for a rich and moving exploration of intimate lives set against one of the great shifts of history, the emergence of the Indian sub-continent from the grip of Empire. Indian Ink was first performed at the Yvonne Arnaud Theatre, Guildford, and opened at the Aldwych Theatre, London, in February 1995. So some context: I'm reading this for a class I'm taking on 20th Century Drama, and prior to read this I read another of Stoppard's works called, which was a radio play that he then adapted into this one, Indian Ink. After having read the radio play, reading this was a bit boring. But I can't fault Stoppard at all for that.

Instead, I can praise him highly for the alterations he made for the stage production. The play deals with a poet named Flora Crewe who is in India in the 1 So some context: I'm reading this for a class I'm taking on 20th Century Drama, and prior to read this I read another of Stoppard's works called, which was a radio play that he then adapted into this one, Indian Ink.

After having read the radio play, reading this was a bit boring. But I can't fault Stoppard at all for that.

Instead, I can praise him highly for the alterations he made for the stage production. The play deals with a poet named Flora Crewe who is in India in the 1930's and forming a relationship with an Indian painter there. It also follows her sister, in the present day, who meets up with the painter's son. The interchange of past & present was so well-crafted, much like in Stoppard's. There is a strong commentary on colonialism, national identity, and the power of art to persist over time. I really loved it.

Indian Ink, or In the Native State in its previous incarnation, is a delicate and thoughtful piece, touching ever so subtly into genre writing. I think it's also Stoppard's best work for radio to date, incorporating many of the skills he had gained through Albert's Bridge, Artist Descending and The Dog It Was That Died. The principal aspect explored, much more richly in radio than on stage, in my opinion, is the aspect of the beautifully alien exotic. Everything is left to the audience's imagina Indian Ink, or In the Native State in its previous incarnation, is a delicate and thoughtful piece, touching ever so subtly into genre writing. I think it's also Stoppard's best work for radio to date, incorporating many of the skills he had gained through Albert's Bridge, Artist Descending and The Dog It Was That Died.

The principal aspect explored, much more richly in radio than on stage, in my opinion, is the aspect of the beautifully alien exotic. Everything is left to the audience's imagination in conjuring the Indian jungles, the Maharaja's extensive Bentley collection, the exquisite reveal of the portrait (perhaps one of the most subtly evoked reveals in modern theatre) and the unseen love between Flora and Nirad. Everything is left for the audience to fill in the blanks, making it one of Stoppard's most trusting and assured works. The sense I get from it is what Nirad describes as one of the images associates with the rasa of Shringara: an empty house. It's our prerogative to fill that house.

Tom Stoppard Facts

I only give it a three-rating instead of higher because I prefer its radioplay version. With Tom Stoppard, the personal becomes personal and the personal becomes political. Indian Ink follows poet Flora Crewe on a train to a fictional town in the heart of India during the 1930s. The story is told through letters Flora wrote to her younger sister in England.

While Eleanor Swan, the younger sister now in her 80s recounts her sisters life to her biographer and to the son of the Indian painter who produced two portraits of her sister, one public and one private, Flora comes to life. F With Tom Stoppard, the personal becomes personal and the personal becomes political. Indian Ink follows poet Flora Crewe on a train to a fictional town in the heart of India during the 1930s.

The story is told through letters Flora wrote to her younger sister in England. While Eleanor Swan, the younger sister now in her 80s recounts her sisters life to her biographer and to the son of the Indian painter who produced two portraits of her sister, one public and one private, Flora comes to life. Flora is a force of nature, a free spirit who refuses to be confined by strict caste systems, racial profiling or nor the colonization of India. Teknomw3 2 7 1 3 dlc fast. Flora does find a kindred spirit in Mira's Das, the Indian painter who feels her pain and her creative spirit. A very touching play about politics, art and the spirit. Stoppard in the 90s wrote a number of very intelligent plays that interrogated the present as well as the past, especially vis-a-vis gender and or sexuality (besides this play, Arcadia and The Invention of Love form a sort of trilogy.) this play throws colonial politics/race into the mix.

Tom Stoppard Arcadia

But the integrity of the art never stumbles into a period piece of 'politically correct' social drama, if for no other reason Stoppard actually is more fascinated by frustrated exotics than any political statem Stoppard in the 90s wrote a number of very intelligent plays that interrogated the present as well as the past, especially vis-a-vis gender and or sexuality (besides this play, Arcadia and The Invention of Love form a sort of trilogy.) this play throws colonial politics/race into the mix. But the integrity of the art never stumbles into a period piece of 'politically correct' social drama, if for no other reason Stoppard actually is more fascinated by frustrated exotics than any political statement. I quite enjoyed this play and especially enjoy whenever Stoppard sets academics up to be a straw man for thinking seriously about issues of art - he clearly loves the theatre more than any classroom!