Abstract From the 1870s through the 1930s, Parsi entrepreneurs based in Bombay financed large professional theatre companies. Their extensive tours brought live stage entertainment to all parts of the subcontinent. Female performers were one of Parsi theatre’s chief attractions. This article focuses on three celebrated women whose trajectories took them in different directions. Jamila Begam came from Iraq to India but achieved her ambition of running a theatre company in colonial Burma. Mary Fenton, ‘the English actress’, was born in India and escaped poverty by performing in Urdu and Gujarati on stages across North India. Nanhi Jan worked in Parsi theatre, recorded art music on phonographs, and yet was best known for her postcard image as a quintessential ‘nautch girl’. Each actress can be verified from memoirs, newspaper ads, official records, or photographs. Their experiences underscore the hazards of mobility as well as the ways in which travel enabled performing women to occupy a larger world professionally, socially, and economically.
Kathryn Hansen (Thu,) studied this question.