Titlebook: Comic Performance in Pakistan; The Bhānd Claire Pamment Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 Pakistani performanc

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书目名称Comic Performance in Pakistan影响因子(影响力)学科排名




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书目名称Comic Performance in Pakistan网络公开度学科排名




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书目名称Comic Performance in Pakistan被引频次学科排名




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书目名称Comic Performance in Pakistan年度引用学科排名




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书目名称Comic Performance in Pakistan读者反馈学科排名

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s in the Drawing Room: The Popular Punjabi Theatre studies that explicate these interventions: . (., Baral 2002), which addresses class strife; . (., Jee 2003), wherein transgendering probes patriarchy; and ., . (., . and ., Anon 2004), where female performers adopt the . mode in rejoinder to the censorship of the woman dancer (2002–2004).

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Book 2017contemporary weddings. With irreverent repartee, genealogical prowess, a topsy-turvy play with hierarchies and shape shifting, the low-status .bhānd. jostles space in otherwise rigid class and caste hierarchies. Tracing these negotiations in both historical and contemporary sites, the author unfolds

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https://doi.org/10.1007/978-3-031-55791-0pted to contemporary challenges by using their residuality to locate the persistence of feudal value systems within the urban political elite and upwardly mobile, from where they play more of a balancing act with the social structures, reaching diverse audiences, as the . Munir Hussain puts it, from ‘the donkey cart to the aeroplane’.

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https://doi.org/10.1007/978-3-8349-7093-0y intended variously as a device for comic relief . oppositional satire, the . ventures further, using his outsider status to playfully challenge ideological binaries and release multiple perspectives on the news.