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Thematische Bibliographien / Mahesh Dattani

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Auswahl der wissenschaftlichen Literatur zum Thema „Mahesh Dattani“

Autor: Grafiati

Veröffentlicht am 18. Mai 2024

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Zeitschriftenartikel zum Thema "Mahesh Dattani"

1

Kalaiselvan, M. „Patriarchy and Communalism in Mahesh Dattani’s Final Solutions“. Shanlax International Journal of English 12, Nr. 2 (01.03.2024): 48–52. http://dx.doi.org/10.34293/english.v12i2.7199.

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Mahesh Dattani’s themes highlight the problems that so many urban people face on a daily basis. These individuals may be living in historical transitions, torn between the alluring modernism and globalisation and the firm grasp of tradition and societal values. Skilled playwright and theatre professional Dattani discovers the problem, develops characters, and employs time, place, and the stage all in service of the subject he addresses. Indian urbanites of today make up the characters on stage. They work with socio-cultural tensions as their issues, and expressionism is his method. This article explains the patriarchy of these individuals in Final Solutions of Mahesh Dattani.

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Jeyalakshmi, G. „Postcolonial Human Identity in Mahesh Dattani’s Select Plays“. SMART MOVES JOURNAL IJELLH 8, Nr. 3 (28.03.2020): 12. http://dx.doi.org/10.24113/ijellh.v8i3.10467.

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Mahesh Dattani is rightly regarded by the international Herald Tribune as one of the best and the most serious playwrights writing in English, His plays expose the violence of private thoughts and the hypocricy of public morality, Dattani wants to get rid of all kinds of evils in the society which spoil the degnifid life. All the atrocities in the name of religion, class, race, or gender can be eradicated if a person is able to understand the power of the human nature. It is not intelligent to be submissive to the cruelties of the oppressor and demising human dignity. This paper analyses a few plays of Dattani to prove that Dattani is against both the atrocities of the dominating and the submissiveness of the dominated in order to attain a dignified life with self -identity.

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3

Jeyalakshmi, G. „Postcolonial Female Subalternity in Mahesh Dattani’s Tara“. Shanlax International Journal of English 11, Nr. 2 (01.03.2023): 4–11. http://dx.doi.org/10.34293/english.v11i2.5792.

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Mahesh Dattani, one of the greatest dramatists of the contemporary age, focuses especially on the suppressed or the less-privileged people. He is not only a dramatist but also an actor and director. He deals with sensational issues like homosexuality, gay relationship, taboos, the position of women, and the hijra community. In Tara, Dattani has vehemently attacked the prevailing socio-cultural system in India, which poses several kinds of limitations, confinement, compulsions, and coercion to female children. They are not permitted either to act freely or to think freely. Tara is also the victim of such a sociocultural system. Being a disabled girl she faces prolonged suffering, humiliation, and subsequently death. Dattani wants to uphold the rights and dignity of women and to bring about equality between men and women.

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Oommen, Susan. „Inventing Narratives, Arousing Audiences: the Plays of Mahesh Dattani“. New Theatre Quarterly 17, Nr. 4 (November 2001): 347–56. http://dx.doi.org/10.1017/s0266464x00014986.

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In this article Susan Oommen looks at the plays of the popular Indian dramatist Mahesh Dattani as conversations between the writer and his audience on models of reality, and interprets their performance as moments in subjectivization. In initiating an audience into redefining identity, she argues that Dattani provides the parameters within which problematizations may be reviewed and better understood. He also seeks to queer the debate on Indian middle-class morality, thereby challenging its privileged status and underscoring the interconnection between repression and invisibility. The question for the audience is whether Dattani's plays can cue them into experiences of resistance and encourage them to reinvent narratives that may then function as personal histories. One of the plays on which this article focuses, Dance Like a Man, was seen during this year's Edinburgh Festival as part of the Celebration of Indian Contemporary Performing Arts. Susan Oommen works in the English Department in Stella Maris College, India, where she has been on the faculty since 1975. She spent the past academic year at the Institute for Research on Women at Rutgers University.

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Singh, Dr Pramod Kumar. „Mahesh Dattani’s “Do the Needful”: An Unconventional Romantic Comedy“. SMART MOVES JOURNAL IJELLH 8, Nr. 10 (29.10.2020): 74–81. http://dx.doi.org/10.24113/ijellh.v8i10.10802.

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Mahesh Dattani is a contemporary Indian English Dramatist who gave voice to the 60 million English speakers of India through his drama. He is the first dramatist recognised for his contribution in this field. Through his plays, he raises the problems of eunuch, homosexuality, transgender, child- sexual abuse, gender-discrimination, thought towards HIV-infected people etc. To such issues, he called them ‘fringe issue’ to whom we face but never take it as a part of society. Through ‘Do the Needful’ Mahesh Dattani has presented the problems of male homosexuality. The play was broadcasted by BBC. The play ‘Do the Needful’ is actually an unconventional romantic comedy.

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Sigroha, Suman. „ROLE OF MEMORY IN SHAPING CHARACTERS� IDENTITY IN MAHESH DATTANI�S FINAL SOLUTIONS“. Celt: A Journal of Culture, English Language Teaching & Literature 13, Nr. 2 (10.02.2015): 227. http://dx.doi.org/10.24167/celt.v13i2.26.

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While writing of contemporary issues Mahesh Dattani constructs a sense of a shared urban cultural identity, which is upper-middle class, professional, English speaking and a cityfied identity. Memory plays a very important part in the plays. Public memory is time and again juxtaposed with personal memory, and it becomes a means to explain and justify the political acts committed for personal interests. This paper looks at how memory, personal as well public, shapes the identities (social, personal and religious) of characters in Mahesh Dattanis Final Solutions. Incidents are important, but only to explain why and how the people populate his plays, acting in ways that they do. The psychological action is of greater relevance than any physical action that takes place in the play. He reveals his characters by placing them in situations where they are forced to analyze themselves in the light of what happened in their lives in the past.

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Pandey, Lavanya, Kumkum Ray und Rashi Srivastava. „Exploring Gender Biasness in selected works of Mahesh Dattani“. International Journal of English Literature and Social Sciences 9, Nr. 3 (2024): 040–46. http://dx.doi.org/10.22161/ijels.93.5.

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For decades the world has had rigid gender roles and constraints. This research paper examines instances of gender prejudice in the selected works of Mahesh Dattani, with a particular emphasis on his well-known plays Tara and Dance Like a Man. Using a multidisciplinary methodology, the research breaks down the complex layers of gender representation in these dramatic narratives by employing feminist theory, queer theory which aims at analyzing of gender roles in the society. The study examines how Dattani's characters negotiate power relationships, identity development, and societal expectations in the setting of Indian culture using in-depth textual analysis and theoretical frameworks. The research seeks to expose underlying prejudices, disprove normative presumptions, and promote a deeper comprehension of the nuances surrounding gender discourse in modern Indian theatre and literature by examining the production of gender within these works. This paper aims to investigate into gender prejudice and queer theory, which is crucial because it exposes structural injustices, questions normative assumptions, and promotes inclusivity. Through the analysis of these problems, society may deal with prejudice, support underprivileged groups, and advance a more diverse and equal conception of gender and sexuality.

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Jeya Sudha, M., S. Anish und G. Georshia. „Signs of Marginal Frame of Mind in Mahesh Dattani’s Clearing the Rubble“. Shanlax International Journal of English 10, S1-Jan (01.01.2022): 19–22. http://dx.doi.org/10.34293/english.v10is1-jan2022.4720.

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Mahesh Dattani is a Sahitya Akademiaward-winning dramatist. His play projects the problems faced by the marginal and unvoiced community. He represents the unvarnished realities of the contemporary society in a realistic tone. The play Clearing the Rubble dig deep into the marginal mentality that prevails in the mind of the people and also the efforts of marginal people to enhance their social status. Dattani expresses the marginal feel through various signs with beautiful metaphorical expressions. The existential crisis of the marginal people is also highlighted in the play through the marginalized characters created by the playwright. The inner feeling of the marginal people and their feel of marginality is well expressed by the dramatists. His radio plays are mapped out in such a way that the audience feels the pleasure of experiencing a drama on stage. The mental and physical pain ofpeople in a world of injustice due to the impact of marginalization is set forth by Dattani in his play Clearing the Rubble. The BBC radio broadcasted the play on the 17th of January 2002 at 2.00 p.m. The play was written as a remembrance of the earthquake that affected Bhuj in the year 2001. The play discusses the prefixed marginal feel in the mind of the people, their struggle to overcome the feeling of marginality through education and money. The paper analyses the signs and symbols by Dattani to denote the marginal mind, gender discrimination, and the search for identity.

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D. Mapari, Ms Dimple, und Shankarlal Khandelwal. „Performative Aspects of Mahesh Dattani’s Plays“. International Journal of English Literature and Social Sciences 7, Nr. 4 (2022): 231–37. http://dx.doi.org/10.22161/ijels.74.33.

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Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after independence, as, many Indians entered the fray and theatre slowly became open for common people too. The post-independence Indian English drama is notable for a wide range of subjects treated, issues presented and also it takes into its compass some globally appealing issues. It displays a remarkable growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations, light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the traditional denotations and connotations of the words’ India’ and ‘Indians’.1 What makes his plays ‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which make his drama stand out.

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Javed Iqbal. „Study of marginalization in Indian society through Mahesh Datani's "Tara"“. World Journal of Advanced Research and Reviews 2, Nr. 1 (30.05.2019): 034–36. http://dx.doi.org/10.30574/wjarr.2019.2.1.1005.

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The 21st century has brought many social reforms, but the situation of women remains dire. Women have proven to be superior to men in many areas, yet society is not yet ready to see them as equals. The rigid conventions and unequal social laws of patriarchal societies, especially in the context of India, has always oppressed women. This paper attempts to highlight the impact of the performance nature of gender inequality in India through Mahesh Dattani's play Tara. Dattani emphasized how ingrained sexism is throughout Indian society, regardless of social or economic class. Many of Dattani's plays highlight the same problem of women being placed in a lower position than men, leading to their conquest. Tara highlights the hegemonic mentality of Indian society. In Indian society, even women became collaborators in order to subdue women and be at the mercy of men. Through Tara's perspective, the paper highlights the impact of male dominance in Indian society, where men are preferred over women regardless of their social and economic class.

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Dissertationen zum Thema "Mahesh Dattani"

1

Sen, Nilanjana. „Mahesh Dattani: the `invisible issues` of indian society“. Thesis, University of North Bengal, 2015. http://ir.nbu.ac.in/handle/123456789/2547.

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Bücher zum Thema "Mahesh Dattani"

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Kumar, Sharma Vijay. Revisiting Mahesh Dattani. New Delhi: Atlantic Publishers & Distributors (P) Ltd, 2016.

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2

Mahesh Dattani: His stagecraft in Indian theatre. New Delhi: Authorspress, 2013.

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3

Tanu, Pant, und Dhawan R. K. 1943-, Hrsg. The plays of Mahesh Dattani, a critical response. New Delhi: Prestige Books, 2005.

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4

Living through Mahesh Dattani's plays. New Delhi: Authors Press, 2018.

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5

Mahesh Dattani's plays: Critical perspectives. New Delhi: Pencraft International, 2007.

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6

Mahesh Dattani's Final solutions: A critical study. New Delhi: Asia Book Club, 2008.

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7

Mahesh Dattani. Foundation Books, 2005.

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8

Girish Karnad and Mahesh Dattani: Methods and motives. Jaipur: Yking Books, 2012.

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9

Raj, Anuja. Seething Cauldrons in Mahesh Dattani's Plays: A Critical Study Taara and Final Solutions. Notion Press, Inc., 2021.

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Buchteile zum Thema "Mahesh Dattani"

1

Gupta, Partha Sarathi. „The Mimesis of Desire in Mahesh Dattani's Plays“. In Theatre, Margins and Politics, 91–102. London: Routledge India, 2022. http://dx.doi.org/10.4324/9781003228769-9.

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2

Negi, Megha. „The Societal Gaze and Stigma: A Study of Mahesh Dattani’s Tara“. In Understanding Disability, 163–70. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-4925-0_14.

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3

Kochhar-Lindgren, Kanta. „Disequilibrium: Disability, Gender, and Belonging in Mahesh Dattani’s Tara and Manjula Padmanabhan’s Harvest“. In Transnational Performance, Identity and Mobility in Asia, 123–41. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-10-7107-2_8.

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4

Chhavi und Rajiv Bhushan. „The Nexus Between Patriarchy and Capitalism: An Analysis of Mahesh Dattani’s Play Where There’s a Will“. In Gender Equity: Challenges and Opportunities, 171–77. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0460-8_17.

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5

„Forgiveness is the Only Final Solution: A Reading of the Play ‘Final Solutions’ by Mahesh Dattani“. In Forgiveness: Promise, Possibility, & Failure, 23–32. BRILL, 2012. http://dx.doi.org/10.1163/9781848881167_004.

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Konferenzberichte zum Thema "Mahesh Dattani"

1

Mishra, Binod. „UN (VEILING) THE SILENCE: A PSYCHOLOGICAL STUDY OF MAHESH DATTANI’S THIRTY DAYS IN SEPTEMBER“. In 5th Arts & Humanities Conference, Copenhagen. International Institute of Social and Economic Sciences, 2019. http://dx.doi.org/10.20472/ahc.2019.005.015.

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