This paper is an exploration of the most recent revival of Utpal Dutt's play Titu Mir in 2019 by the ensemble group Theatre Formation Paribartak in India. Islamic religious reformer Titu Mir led a peasant rebellion from 1827 to 1831 in the Barasat region of Bengal and the play focuses on a narrative of revolutionary resistance to colonialism. Titu Mir becomes an articulation of political theatre against the Hindu right-wing agenda of expunging Muslim national heroes from Indian history. This essay seeks Titu Mir's relevance as a site and theory of materializing historical contradictions, and as part of a ‘gestic’ feminist criticism of theatre. The essay attempts to understand how critique of patriarchal ideology is enmeshed in critique of colonialism in Titu Mir, especially in those moments where the play addresses complexities of political violence, interracial romance, martyrdom, alienation in the colony and deep-rooted misogyny in the project of colonialism.

中文翻译：

---

我们这个时代被遗忘的历史：在当代印度重温乌特帕尔·杜特的《蒂图·米尔》

本文是对乌特帕尔·杜特戏剧最近复兴的探索蒂图·米尔2019 年，由印度 Paribartak 乐团 Theatre Formation 演出。1827 年至 1831 年间，伊斯兰宗教改革家蒂图·米尔 (Titu Mir) 在孟加拉巴拉萨特地区领导了一场农民起义，该剧重点讲述了反抗殖民主义的革命斗争。蒂图·米尔成为反对印度教右翼议程的政治戏剧，该议程将穆斯林民族英雄从印度历史中删除。本文寻求蒂图·米尔作为具体化历史矛盾的场所和理论，以及作为戏剧“姿态”女权主义批评的一部分，它具有相关性。本文试图理解对父权意识形态的批判如何与对殖民主义的批判交织在一起。蒂图·米尔尤其是在该剧涉及政治暴力、跨种族浪漫、殉难、殖民地疏远以及殖民主义计划中根深蒂固的厌女症等复杂问题的时刻。