This book on the ritual art of Teyyam and Bhutaradhane as noticed among some ethnic groups of Kerala and Karnataka brings into focus metaphysical happenings in the life of the people and its reflection in folk tradition. Teyyam is enacted to gain redressal from the spirits.The author has tried to describe the performances, in which the performer gets engrossed, totally transformed and transcended to the world of unseen forces of nature, impersonating the gods and goddesses by way of theatrical arts and exhibiting his so-called divine power by uncanny behaviour. Various other manifestations of art forms connected with the ritual art of Teyyam have also been discussed here. The art of ritual paintings, crafts and practices relating to the preparation of the head gears and the performing arts are well-covered in the book. It is complete with annotated glossary oflocal terms and profuse authentic illustrations.

Traditional theater in the Roman world depicted powerful emotions and political ideals that were often the norm in Roman society. Although modern historians have only a hazy perception of performances during both Republic and Empire, testimony to the greatness of the epoch's theater lies in the ruins that stretch across the expanse of the great vanished empire. William Slater's new volume Roman Theater and Society brings an important perspective to the much-maligned status of the Roman theater, which has only recently been reappraised and appreciated as uniquely Roman rather than criticized for not being Greek