From April to November 2019, eight members of the pandies’ theatre, a Delhi-based activist theatre group, toured Delhi and Rajasthan with a fifty-five-minute version of Euripides’ Medea, in Hindustani. The group gave fifteen performances in the round, in spaces ranging from a tin shed to a plush air-conditioned conference room, addressing diverse audiences. During post-performance discussions in four spaces – Ambedkar University of Delhi, the village of Mangliawas in Rajasthan, the India Habitat Centre, and Studio Safdar in New Delhi – spontaneous debates arose between women on the one side and men on the other in which the women expressed their understanding of Medea’s actions or their ‘identification’ with her character. Anuradha Marwah, the director of the play, discusses these debates with reference to the ‘agonistic’ character of Medea (431 BCE) while framing the tour as a feminist activist endeavour in India today, where the condition of abandoned women and those considered to be outsiders has become even more precarious due to increasing divisiveness and chauvinism. Anuradha Marwah is a theatre activist and a Professor in the Department of English at Zakir Husain Delhi College, Delhi University. She was a Fulbright-Nehru Academic and Professional Excellence Fellow at the Interdisciplinary Centre for Study of Global Change, University of Minnesota-Twin Cities in 2017. Her publications include two plays, A Pipe Dream in Delhi and Ismat’s Love Stories, three novels, and several academic and popular articles.

从 2019 年 4 月到 11 月，总部位于德里的激进剧团 pandies 剧院的八名成员带着 55 分钟版本的欧里庇得斯美狄亚巡演了德里和拉贾斯坦邦，在印度斯坦。该小组在从铁皮棚到豪华空调会议室的各种空间进行了 15 场演出，面向不同的观众。在四个空间——德里的安贝德卡大学、拉贾斯坦邦的曼利亚瓦斯村、印度人居中心和新德里的萨夫达尔工作室——的表演后讨论中，一边是女性，另一边是男性，自发的辩论出现了。女性表达了她们对美狄亚行为的理解或对她性格的“认同”。该剧的导演阿努拉达·马尔瓦（Anuradha Marwah）讨论了这些争论，提到了美狄亚（公元前431年）的“好斗”性格) 虽然今天将巡回演出定为印度的女权主义活动家，但由于分裂和沙文主义的加剧，被遗弃妇女和被认为是局外人的妇女的状况变得更加不稳定。Anuradha Marwah 是一名戏剧活动家，也是德里大学扎基尔侯赛因德里学院英语系的教授。2017 年，她是明尼苏达大学双城分校全球变化研究跨学科中心的富布赖特-尼赫鲁学术和专业卓越研究员。她的出版物包括两部戏剧，德里的白日梦和伊斯马特的爱情故事，三部小说，以及几篇学术和流行的文章。