Scholarship on Indian theatre has focused on colonial theatrical culture, theatre’s allegiance to the national project, forms of institutionalization and, most crucially, critiquing the urban relationship to folk and traditional performance. There has been some investigation of avantgarde practices of women theatre-makers since the 1990s that deviate from modernist paradigms to propose a new language for theatre, while underlining the subjective position of the maker as unstable, volatile and radical. The critique of the glaring exclusion of theatre from official cultural discourse has also occupied theatre scholars who trace back the genealogy of contemporary practice to the Indian People’s Theatre Association (IPTA), early-modern forms like Parsi theatre and its regional variants. And equally, the view of folk forms as disembodied and appropriable artefacts, celebrated as markers of authentic “Indian” identity, has been amply contested by scholars and theatre-makers alike