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 * Tonight Amar Singh Rathore: Marwari Khyal in Transition **. By Thomas Ault. __AJT.__ Fall 1991. pps 142-167

Thomas Ault addresses specifics of // Khyal //as it is performed in Rajastan, India, and the changes this folk drama is undergoing. Ault briefly explains the history of // Khyal //, elaborating that the art form is generally taught through experience and passed down through generations and what characteristics are still needed to consider a play a // Khyal. //After explaining the characters, stage requirements and expectations, Ault dives into the rapid changes that are sweeping through this art form. Ault breaks down the performance into rituals, interludes, costumes and props, and music and text. Through each of these sections Ault first tells of how the performances are being handled, how they used to be done and now people’s perceptions of the // Khyal. // Ultimately, each section had the overarching theme that the // Khyal //has changed to give it a more modern look and feel. The costumes and songs incorporate more modern Indian culture and deviate from the original texts to some degree. While the younger crowds tend to enjoy this change, the older people find some of it disgraceful or inappropriate. Along with the modern aspect changing the // Khyal //the people performing the plays has changed. When it there used to be Brahmin and other upper casts performing, now this is a job for lower casts. This lends itself to the longer interludes where cast members perform versus for money to help support the company. Other big changes facing the // Khyal //include the length of the plays, the company’s support and the demand. With cinema houses and televisions increasing in India, the demand for live plays is dwindling. With lower demand, the actually acting companies are lessening as well, thus not providing as much support for the actor who what to pursue a life as a // Khyal //actor. The length of the performances is changing for two reasons, according to Ault. The younger actors are saying the crowd is not as entertained by the shows thus they cut the shorter to allow the audience to go home and prepare for the next day; where as the older company members are saying the younger actors do not have the training or stamina to keep the performances going all night as they used to do. Regardless of the reason, the number and length of performances are falling in India and hopefully with the help of Universities, this art form will not be lost forever. With author, like Ault, recording where the // Khyal //has been and where it is going, will help programs study and embrace the // Khyal. //Having a physical record of the // Khyal //allows for others who have not observed or trained with a company to learn about this art and hopefully revive it.