Decentering Romeo

This paper examines how one rural theatre group, located near the city of Patiala in Punjab's countryside, reimagined Juliet through the expressive traditions, gestures, and rhythms of Punjabi village life. Based on four rehearsals, two full performances, and eight interviews with performers and community elders, this research documents how Juliet was reshaped into a character grounded in the daily work and emotional experience of rural women rather than in the romance defined by Romeo. The performers combined elements of Mirza Sahiban, boliyan, tappay, dholki rhythms, and household labour gestures in order to craft a Juliet whom local spectators recognized as part of their own world. Using feminist theory, embodied performance studies, and adaptation scholarship, this paper illustrates how Juliet's narrative authority increased through direct address, grounded movement, and the reduction of Romeo's presence. Audience responses revealed that spectators strongly identified with Juliet's struggles, confirming the social relevance of the adaptation. The study highlights how rural reperformance is able to shift the meaning of canonical texts and make space for women's experiences to shape dramatic structure

Craft · Embodied cognition · Gesture · Grounded theory · Narrative · Romance · Shakespeare, Adaptation, and Literary Criticism · South Asian Cinema and Culture · Theatre and Performance Studies

• Embodied Research Methods

  Torkild Thanem, David Knights•Embodied Research Methods•2019

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