cinema and stage. Celluloid Classicism situates itself amidst Indian dance scholarship in the past decade that examined Bharatanatyam’s growth and development through its dialogue with complex and heterogenous performative contexts and spaces, to question and challenge the standard representations of the form’s past. Prominently, Davesh Soneji (2012) whose work Krishnan quotes extensively, examined an appropriated modern Bharatanatyam through the marginalized devadāsı ̄ voices and embodied memory. Priya Srinivasan (2012) interrogated how Bharatanatyam had obscured the bodily labor of transnational dancers both historically and otherwise. Krishnan’s work, in the dearth of scholarship on cinema and Bharatanatyam, is a larger laborious exercise that shifts the focal lens away from an acute predisposition on the dance form itself to how Bharatanatyam might manifest when viewed from the cinematic landscape. In doing so, Krishnan inspires performers and scholars of Indian dance to go beyond mere acknowledgment of the historical malleability of Bharatanatyam, to borrow from several popular media forms, and to engage more effectively with such history in performance and scholarship in order to oversee an organic growth of the classical form.

中文翻译：

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弗拉门戈酷儿历史：DESVÍOS, TRANSICIONES Y RETORNOS EN EL BAILE FLAMENCO (1808–2018)，费尔南多·洛佩斯·罗德里格斯 (Fernando López Rodríguez)。2020.马德里：埃加莱斯。377 页，35 张图片。20 欧元纸。国际标准书号：9788417319977

电影院和舞台。赛璐珞古典主义在过去十年中置身于印度舞蹈学术研究中，通过与复杂和异质的表演环境和空间的对话来检验婆罗多舞的成长和发展，质疑和挑战形式过去的标准表现。值得注意的是，Davesh Soneji (2012) 的作品 Krishnan 广泛引用，通过边缘化的 devadāsı ̄ 声音和体现的记忆检查了一个被挪用的现代 Bharatanatyam。Priya Srinivasan (2012) 质疑 Bharatanatyam 如何在历史和其他方面掩盖跨国舞者的体力劳动。克里希南的作品，在电影和婆罗多的学术匮乏的情况下，是一项更大的费力练习，它将焦点从对舞蹈形式本身的敏锐倾向转移到从电影景观中观看时婆罗多舞的表现形式。在这样做的过程中，克里希南激励印度舞蹈的表演者和学者超越仅仅承认婆罗多舞的历史可塑性，借鉴几种流行的媒体形式，并在表演和学术方面更有效地参与这些历史，以监督有机古典形式的发展。