For a day-long summer solstice piece, Nordman moved everything out of the main exhibition halls and covered the floors and lower walls with white vinyl and sheetboard.
But the attempt of the seven-armied Pāndus to enclose the eleven-armied Kurus seems ludicrous.
This, he argues, was in turn especially strongly shaped by imported British theatre traditions, particularly the use of the proscenium arch stage which was radically different from the open staging of precolonial and early colonial India and produced and emphasis on frontality in theatre productions that is now deeply structured into Bollywood films, most notably in their smile-at-the-camera song-and-dance sequences.
