ABSTRACT In the forested countryside of Gwalior lie the vestiges of a little-known amphitheatre (akhārā) attributed to Raja Mansingh Tomar (r. 1488–1518). A bastioned rampart encloses the once-vibrant dance arena: a circular stage in the centre, surrounded by orchestral platforms and an elevated viewing gallery. This purpose-built performance space is a unique monumentalized instance of widely-prevalent courtly gatherings, featuring interpretive dance accompanied by music. What makes it most intriguing is the architectural play between inside|outside, between the performance stage and the wilderness landscape. Why then did it make sense to situate a ‘fortified’ amphitheatre amidst forested hills, away from the city? And where does this cultural arena stand in relation to the pressing political concerns of the day, anchored in the very same landscape? This paper examines the performative structure of Mansingh’s akhārā and argues that performance – as evening entertainment, hunting sport and military campaign – occupied a crucial place in Gwalior’s resilience throughout the fifteenth century and its changing perceptions from an infidel’s jungle refuge (mawās) to the axis of a culturally-refined region (sudeśa).

中文翻译：

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征服景观中的表演场所：瓜里奥拉（Raja Mansingh）的akhārā

摘要在瓜廖尔（Gwalior）森林茂密的乡村，躺着一个鲜为人知的圆形剧场（akhārā）的遗迹，归因于Raja Mansingh Tomar（r。1488-1518）。堡垒城墙环绕着曾经充满活力的舞蹈舞台：中央的圆形舞台，被管弦乐队的平台和高架的观景台所环绕。这个专门建造的表演空间是举世闻名的宫廷聚会的独特纪念性实例，其特征是伴随着音乐的演绎舞蹈。最吸引人的是内部之间，表演舞台与旷野景观之间的建筑玩味。那么为什么在远离城市的森林丘陵中放置一个“强化”圆形剧场才有意义呢？与当今紧迫的政治关切相比，这个文化舞台在哪里？锚定在相同的景观中？本文研究了曼辛格（Mansingh）的akhārā的表演结构，并认为，表演（作为晚间娱乐，狩猎运动和军事行动）在整个15世纪的瓜廖尔（Gwalior）的复原力及其从异教徒的丛林避难所（mawās）到轴心的转变观念中占据着至关重要的位置。精致的地区（sudeśa）。