The Really Poor Theatre: Postcolonial Economies of Performance. 
Journal of Dramatic Theory and Criticism 31 (2017). 
Link
During the 1960s, the Polish experimental director, Jerzy Grotowski, theorized a "poor theatre" in opposition to the "rich theatre" and richer cinema of the Western metropolis. The concept of poverty, however, now appears to have even greater resonance in regions such as the Caribbean, sub-Saharan Africa, and India, where powerful "new national and postcolonial" theatres have taken shape without the expected conjuncture with commerce. This essay begins by exploring the extent to which current methodologies in theatre studies impede or support transnational and intercultural comparisons of this kind. Referring primarily to Derek Walcott, Rabindranath Tagore, and Badal Sircar, and more briefly to Wole Soyinka and Ngũgĩ wa Thiong'o, the essay then analyzes the forms of impoverishment that these authors confront (or actively advocate) in their theoretical work, and accommodate variously in their artistic practice.

Modernism, ‘Tradition,’ and History in the Postcolony: Vijay Tendulkar’s Ghashiram kotwal (1972).
Theatre Journal 65 (special issue on “Modernism,” December 2013)
Link
Indian-language theatre of the second half of the twentieth century contains the largest clustering of "modernist," as well as "postcolonial" drama outside the circuits of Euro-American textuality and performance, but the qualities that make this body of writing a notable formation also contribute to its virtual exclusion from discussions of postcolonial and global modernisms because the new modernist studies has dealt very sparingly with non-European languages. In this essay, a method of "representative reading" is suggested that connects a major post-independence play—Vijay Tendulkar's Ghashiram kotwal (Constable Ghashiram [1972])—to the conceptual, aesthetic, and linguistic frameworks of Indian modernisms, with particular attention to three sets of paradoxical relations: between an intensely personal authorial self and an impersonal social art; between the simultaneous representation and de-historicization of history; and between modernism and its ostensible opposite, "tradition." 

India’s Theatrical Modernity: Re-Theorizing Colonial, Postcolonial, and Diasporic Formations.
Theatre Journal 63 (2011).
Link
As a "modern" institution shaped equally by European influences and indigenous circumstances, urban theatre first appeared in the colonial Indian cities of Calcutta and Bombay (now Kolkata and Mumbai) in the mid-nineteenth century, and has developed since independence into a complex, multilingual, national and postcolonial formation. However, to create "modern Indian theatre" as a field of study, or to define the qualities of modernity that might differentiate it from other periods in theatre history, has been a demanding critical task, because of anomalies in Western as well as Indian approaches to the subject and the problematization of the very idea of modernity in relation to Indian theatre and performance. 

Representing India’s Pasts: Time, Culture, and the Problems of Performance Historiography.
In Representing the Past: Essays in Performance Historiography, ed. Thomas Postlewait and Charlotte Canning. University of Iowa Press (2010).
Link
The discipline of theatre historiography in India is an inherently embattled field because, like other forms of modern history writing in India, it seeks to reconstruct methods of historical inquiry in a culture where "history," "historicity," "historical experience," "historical consciousness," and "the historical sense" have been and continue to be deeply contested concepts. Any metacritical reflection on method in Indian theatre history therefore has to begin at an unusual level of generality, by considering the theoretical, conceptual, and historicopolitical reasons for the crisis of representation that pervades the genres of historiography. To a large extent the crisis is a product of cultural difference: it registers the conflicts between intrinsic Indian and extrinsic Western ideas of time and history that were inevitable under the asymmetrical power relations of colonialism between the late eighteenth and the early twentieth centuries.