This article intends to critique the spectres of authority which haunt theatrical interpretations of Rabindranath Tagore's (1861–1941) plays. As Tagore is a cultural icon, since even before his demise his plays have been made sites for exercising cultural and institutional authority. A consequent uneasy anticipation of denunciation or censorship has essentially deterred theatre directors from creatively interpreting and staging his plays. In terms of discourse also, there has been a spiral of silence regarding the presence of such authority. It is only since the beginning of the twenty-first century, after the termination of the copyright to Tagore's works, that the situation has lightened considerably. This article deals with the above phenomenon in two segments. While the second segment provides a close analysis of one of the first productions to radically subvert the status quo regarding the creative staging of Tagore's plays, the first provides a contextual, historical build-up to that moment. The article argues that in dramatic theatre authority is often validated on the basis of an ‘archival logic’ of thinking which requires systematic dismantling.

中文翻译：

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超越权威的幽灵上演泰戈尔：Suman Mukhopadhyay 的法尔古尼：苏卡纳 (2001)

本文意在批判那些困扰着泰戈尔（1861-1941）戏剧的戏剧诠释的权威幽灵。由于泰戈尔是一个文化偶像，甚至在他去世之前，他的戏剧就已经成为行使文化和制度权威的场所。随之而来的对谴责或审查的不安预期基本上阻止了戏剧导演创造性地解释和上演他的戏剧。在话语方面，关于这种权威的存在也出现了螺旋式的沉默。直到二十一世纪初，泰戈尔作品的版权终止后，情况才明显缓和。本文分两个部分处理上述现象。第二部分对最早的一部作品进行了仔细分析，从根本上颠覆了泰戈尔戏剧创作舞台的现状，第一部分提供了当时的背景和历史积累。这篇文章认为，在戏剧中，权威通常是基于一种需要系统分解的思维“档案逻辑”来验证的。