Wading through the tempestuous waters within which our society is drowning, is India’s first Sahitya Akademi award winning dramatist, Mahesh Dattani. He is a humanist who uses his multifaceted personae as a weapon in his fight against inhumanity. Dattani sees in society what others wish to ignore. His works are a plea for humane treatment of homosexuals, equality towards women and moreover equal rights for every small section of society including the hijras. His plays question all kinds of discrimination, be it religious prejudice, gender discrimination or even homosexuality. His plays not only bring up gender issues and the space allotted to women in a patriarchal society, but also they deal with gender biases and prejudices which still affect the lives of many girl-children even amongst educated, urban families.
Mahesh Dattani is a name that guided weakling Indian English Drama on the path of reliability, steadfastness and distinct identity. He has an ability to amalgamate the traditional beliefs with ultramodern disposition and conviction. His plays are heavily charged with socio political, emotional, physiological and psychological issues. Many of his plays deal with familial issues wherein the family members are trapped in social constraints and struggle to wrestle out of societal pressures. Dattani’s plays expose the violence of our private thoughts, and the hypocrisy of our public morals. His work conveys his political beliefs without being instructive or revolting the subjects of recognition and power struggles, run right through all his plays.
Tara sheds light on the sufferings of the physically challenged whilst weaving itself around the gender constraints and class struggle prevalent in Indian society. Playwright M...
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...er everything that cannot be. The relation between him and his sister is special, but it is buried in emotional turmoil of harshest kind. The separation of these two souls, so much in union with each other, is visited at the very beginning of their existence. Two operation tables being put together and then pushed apart – two loving souls brought close and then violently separated, never to come back together again. The image of separation at the operation table translates into jarring emotional parting between them. The effect is so immense on Chandan, that he break out of his identity and takes the name of Dan to narrate Tara’s story. Chandan (or Dan) feels he has faltered as he becomes the agent of perpetuating the wrong done to Tara in her life.. He apologises to Tara for making her story his tragedy – “Forgive me Tara. Forgive me for making it my tragedy.”(380)
Considering that traditional society looked down on women as inferior to men, the female roles in each work challenge the status quo and make their audiences’ eyes wearier to the society they might have previously backed without question.
When Sripathi and his family receive the news of Maya’s and her husband’s fatal road accident, they experience a dramatic up heaval. For Sripathi, this event functioned as the distressed that inaugurated his cultural and personal process of transformation and was played out on different levels. First, his daughter’s death required him to travel to Canada to arrange for his granddaughter’s reverse journey to India, a move that marked her as doubly diasporic sensibility. Sripathi called his “foreign trip” to Vancouver turned out to be an experience of deep psychic and cultural dislocation, for it completely “unmoors him from the earth after fifty-seven years of being tied to it” (140). Sripathi’s own emerging diasporic sensibility condition. Not only must he faced his own fear of a world that is no longer knowable to him, but, more importantly, he must face his granddaughter. Nandana has been literally silenced by the pain of her parent’s death, and her relocation from Canada to Tamil Nadu initially irritated her psychological condition. To Sripathi, however, Nandana’s presence actsed as a constant reminder of his regret of not having “known his daughter’s inner life” (147) as well as her life in Canada. He now recognizeed that in the past he denied his daughter his love in order to support his
Although Linton describes instances in which she attempts to distance herself from the passivity her condition seems to require by demanding her newly disabled body be taken seriously (especially by an “unassuming” salesman trying to take advantage of fitting her for a prosthesis), it is not until one hundred pages in that readers might begin to get the feeling Linton is finally approaching the real crux of her story. This is not to say that the text before this point is trite or inconsequential; on the contrary, as after her hospital stay she writes about exposing herself to a new world where she is a curious entity, moving to California to attend college only to find they have already discovered “the disability movement” and she does not quite fit into their image of it just yet, and situating the disabled body against “normative” notions such as travel, dance, sex, intimacy, and celebrity. It is precisely in this section’s substantiality that Linton is at last able to reach a crucial narrative point, revealing a poignant and pivotal moment in her life’s bumpy journey.
Nancy Mairs, born in 1943, described herself as a radical feminist, pacifist, and cripple. She is crippled because she has multiple sclerosis (MS), which is a chronic disease involving damage to the nerve cells and spinal cord. In her essay Disability, Mairs’ focus is on how disabled people are portrayed, or rather un-portrayed in the media. There is more than one audience that Mairs could have been trying to reach out to with this piece. The less-obvious audience would be disabled people who can connect to her writing because they can relate to it. The more obvious audience would be physically-able people who have yet to notice the lack of disabled people being portrayed by the media. Her purpose is to persuade the audience that disabled people should be shown in the media more often, to help society better cope with and realize the presence of handicapped people. Mairs starts off by saying “For months now I’ve been consciously searching for representation of myself in the media, especially television. I know I’d recognize this self becaus...
Jeff Nisker’s text, Calcedonies, is a play that deals with the lack of social services available to persons with disabilities in Canada (Nisker, 2010, p. 418). This play also uses Scott McCLoud’s (1993) notion of “amplification through simplification” (p. 30), to heighten the ill person’s lived experience by going beyond the written page to subjecting the audience to ‘sensorial impacts’ (Nisker, 2010, p. 418). The sets, facial expressions, music, costumes and other theatrical strategies help to convey the ill person’s emotions so that the audience can better understand their feelings. Module 3 in this health humanities course is about ‘Bodies on Stage’, and the lecture in which Nisker’s play was an ‘optional reading’, is a part of this module.
Gurinder Chadha’s Bride and Prejudice, a Bollywood adaptation of Pride and Prejudice, places Jane Austen’s emphasis of equality in marriage within an intercultural context, where the difference in culture is the source of social tension. As West meets East, American tycoon William Darcy sparks cultural conflict with his presumption of Indian girls’ “simple” and traditional characteristics and of their ready subordination to American men. Parallel to Elizabeth’s assertion of her father and Darcy’s equal class standing, Lalita’s fierce rebuttal of Darcy’s assumption highlights his ignorance of the Indian culture, especially his inability to understa...
Hence, this play is Dattani’s call for protest. In a way, the character of Uma can be seen as a mouthpiece of Dattani’s who sympathizes with the problems of transgender and tries to bring justice to them. Creation of this character is a yell to the society who needs a representative for this community along with their own members of the community. There is great power in unity and if the hijra community gets a representative from its own community and one from outside, who knows how the society outside can be molded and they both unite effective changes can be made with the amendments in the
In this chapter Mahasweta Devi’s anthology of short stories entitled Breast Stories to analyze representations of violence and oppression against women in name of gender. In her Breast Stories, Devi twice evokes female characters from ancient Hindu mythology, envisions them as subalterns in the imagined historical context and, creates a link with the female protagonists of her short stories. As the title suggests, Breast Stories is a trilogy of short stories; it has been translated and analyzed by Gayatri Chakraborty Spivak and, in Spivak’s view, the ‘breast’ of a woman in these stories becomes the instrument of a brutal condemnation of patriarchy. Indeed, breast can be construed as the motif for violence in the three short stories “Draupadi,” “Breast-Giver,” and “Behind the Bodice,”
On this metaphorical quest of the protagonist Jasmine, start she is first born with the name Jyoti in India where begins to stand up against the traditional path that has been prepared for her by the male-controlled system. Like the other women of her homeland, she under the constant control of her brothers and father. In the Indian tradition, a female is to be married young that includes a dowry. After marriage, it would see...
Mahasweta Devi, always writes for deprived section of people. She is a loving daughter, a clerk, a lecturer, a journalist, an editor, a novelist, a dramatist and above all an ardent social activist. Her stories bring to the surface not only the misery of the completely ignored tribal people, but also articulate the oppression of w...
For thousands of centuries literature has been used as a clever device to show the negative outlook in which society has on women at that time. The common theme of men exploiting women for personal gain and using their heavy-handed power to make women feel inferior can be seen in writings from the ancient Greeks all the through authors of the 20th century. Writers and intellectual thinkers such as Plato, Peter Abelard, Fyodor Dostoevsky, Henrik Ibsen, and even women such as Virgina Wolfe, and Fatima Mernissi have all written about the struggles caused by domineering men which women have fought against for so long. It is not until the late twentieth century that we see a positive almost spiritual view of women from the stories told by Gao Xingjan in his book One Man’s Bible. The 1994 publication of Fatima Mernissi’s memoirs of her girlhood in a harem spoke powerfully in favor of women shedding prescribed gender roles in favor of embracing their own identities. It is books such as Fatima’s and Gao’s which will help carry out feminist movements into the 21st century.
Aparna, Bhargava. Theatres of Independence: Drama, Theory, and Urban Performance in India Since 1947. New York: University of Iowa Press, 2009.
The Das parents’ negligent relationship with their children in Clear Light of Day mirrors India’s independence from Britain. Before their deaths, Mr. and Mrs. Das were preoccupied and inattentive to their four children, Raja, Tara, Bim, and Baba. They spent most of their time at the club, playing “their daily game of bridge” (Desai 50). This pastime is so important to them that they neglect to take care of their kids. For example, Mrs. Das tires of “washing and powdering” Baba, her mentally disabled baby, and she complains, “My bridge is suffering” (103). Mr. Das also does not focus on his children and “he [goes] through the day without addressing a word to them” (53). Unfortunately, Mr. and Mrs. Das are unable to ever form a loving relationship with their children because they both pass away. After Mrs. Das falls into a...
Indian cinema has contributed a lot to the media and the entertainment industry over the years now and moulded the image of cinema in India in the eyes of the world. In the Generation we live in today, India has arrived at a stage where woman and men are treated equally; well almost equally. But there are still people, still industries and certain areas that do look down upon woman till date. And have we ever wondered why? There are many industries and reasons why woman are still looked down upon on. One of the industries being Cinema, The cinema over the years has only portrayed the image of woman as being in the house doing the chores or being dominated by
Garg in ‘Hari Bindi’ discusses the story of a common woman and made it extraordinary by the active force she was experiencing in herself to live her life. The husband of the protagonist symbolises the power and control of patriarchy that had restricted her life in such a way