Nautanki theatre in North India continues to feed a sense of collective identity. Yet Nautanki`s role as a vital medium of com-munication has not been fully analysed till now. The author seeks to fill this gap and weaves her discussion into a well-defined historical fabric, drawing on both documents and oral sources to provide a chronological account of texts, themes, schools, music and meter. By animating diverse voices, she makes audible the chorus occuring within and among texts.
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