Abstract:Lav-Kush Ramlila, staged at the Red Fort, has gained popularity in recent years amongst other similar dramatic re-enactments of the epic saga. Its attractiveness, owing to its casting, includes film and television personalities from entertainment industries across India. While the festivities of many Indian celebrations allow modern audiences to bear witness to an amalgam of ritual, religion, and histrionics, the Ramayan maintains a prime position in shaping the national narrative. What helps sustain its position in the Indian psyche is accessibility to the story of Ram. This article draws attention to the language of the Lav-Kush Ramlila, specifically through translations of three pivotal scenes: Ram's Exile, Lakshman Cuts Off Shurpnakha's Nose, and Hanuman Fetches Sanjivani, as derived from its live performance in 2016 and 2018. The translations are accompanied with summaries and supporting commentaries to further illuminate the performance, its sub-text, and cultural references, as well as an introduction that locates purposeful connections between the performance and Ramanand Sagar's Ramayan which continues to serve public memory, collective sentiment, and Hindutva politics.Radhica Ganapathy is Assistant Professor in the School of Theatre & Dance at West Virginia University. She holds a Ph.D. in Theatre from Texas Tech University. Ganapathy began her career in theatre as a professional actor in New Delhi, India. Prior to WVU, Ganapathy taught at The Pennsylvania State University Berks Campus and Stockholm University in Sweden. She has collaborated with various artists, performers, and scholars in India, Sweden, and the United States. Ganapathy's research engages in critical representations of race, class, gender, and sexuality in twentieth century theatre and performance. Ganapathy is specifically interested in examining notions of performance and performativity in art and the everyday life.

中文翻译：

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旧德里壮观的 Lav-Kush Ramlila：翻译中的三个关键场景

摘要：在红堡上演的拉夫-库什·拉姆利拉 (Lav-Kush Ramlila) 近年来在史诗传奇的其他类似戏剧重演中广受欢迎。由于其演员阵容，它的吸引力包括来自印度各地娱乐业的电影和电视名人。虽然许多印度庆祝活动的庆祝活动让现代观众见证了仪式、宗教和戏剧的混合，但斋月在塑造民族叙事方面仍保持着主要地位。有助于维持其在印度心理中的地位的是对拉姆故事的了解。本文提请注意 Lav-Kush Ramlila 的语言，特别是通过三个关键场景的翻译：Ram's Exile、Lakshman Cuts Off Shurpnakha's Nose 和 Hanuman Fetches Sanjivani，源自其 2016 年和 2018 年的现场表演。译文附有摘要和辅助评论，以进一步阐明表演、其潜台词和文化参考，以及定位表演与拉马南萨加尔的拉玛扬之间有目的的联系的介绍，该拉玛扬继续为公众记忆、集体情感、和印度教政治。Radhica Ganapathy 是西弗吉尼亚大学戏剧与舞蹈学院的助理教授。她拥有博士学位。在德克萨斯理工大学戏剧学院。Ganapathy 在印度新德里以专业演员的身份开始了她的戏剧生涯。在加入西弗吉尼亚大学之前，Ganapathy 在宾夕法尼亚州立大学伯克斯校区和瑞典斯德哥尔摩大学任教。她曾与印度、瑞典和美国的多位艺术家、表演者和学者合作。甘纳帕蒂' 其研究涉及对 20 世纪戏剧和表演中的种族、阶级、性别和性的批判性表现。Ganapathy 对研究艺术和日常生活中的表演和表演性概念特别感兴趣。