Zeitschriftenartikel: „Mahesh Dattani“

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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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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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R., Kalaiselvi. „Gender Discrimination in Mahesh Dattani‟s Play Thirty Days in September“. International Journal of Psychosocial Rehabilitation 24, Nr. 4 (30.04.2020): 5934–36. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020400.

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Madhu, Madhu. „Gender Differentiation And Women Empowerment With Reference To The Plays Of Mahesh Dattani“. Shodh Sari-An International Multidisciplinary Journal 02, Nr. 04 (01.10.2023): 138–51. http://dx.doi.org/10.59231/sari7630.

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Mahesh Dattani is an Indian playwright who has written extensively about the lives of women in India. Dattani’s plays often explore the experiences of women in India, and how they are affected by social and cultural norms. This paper tries to discuss and explore the themes of gender discrimination, incest, patriarchy, women subordination, and power. In his plays, women are often shown as victims of patriarchal society. However, they also show how women can fight back against these forces. Dattani’s plays show that women are not simply victims of patriarchal society. They are strong and resilient individuals who can fight back against oppression. His plays offer a message of hope to women everywhere. In many of his plays, he explores the ways in which women are subjected to violence and discrimination and how they are fighting back against traumatic situations, such as abuse, incest, gender discrimination, and violence. Dattani’s plays are important because they give voice to the experiences of women who are often silenced. He shows that women are capable of overcoming adversity and resilience, and they will not hesitate to fight back for their rights. His plays also challenge traditional gender roles and stereotypes, and they offer a vision of a more just and equitable society.

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Sharma, Dr Ramesh. „Mahesh Dattani’s ‘Clearing the Rubble’: A Critique of Centre Versus Margins“. International Journal of English Literature and Social Sciences 7, Nr. 3 (2022): 258–61. http://dx.doi.org/10.22161/ijels.73.39.

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The present paper proposes to depict the reality of the society of modern times in a socio-realistic play ‘Clearing the Rubble’ by Mahesh Dattani. The main thrust of the paper is to throw light on the pathos of the marginalized section of society. Mahesh Dattani is a well known playwright who is known for his courageous attacks on the cruel and inhuman attitude towards the weak and marginalized categories. The paper examines how a society can be cruel enough to deny equal rights to their fellow beings on the basis of caste discrimination. ‘Clearing the Rubble’ brings treatment; the marginalized section of untouchables goes through during the natural calamity of earthquake. It presents the discrimination against the minority community of Muslims and who are also untouchables and is thus doubly marginalized. The dramatist has struck the conscience of the society by exposing the hypocrisy of the Indian society. Dattani wants to give a message through this play that the marginalized sections of low-caste should be given human status that, man is a man and he is born equal to all other men. This play gives an exotic image of our country and barely scratches the surface of Indian reality. He has made Herculean effort to retrieve the true and realistic inside view of India and her people.

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Dr. Om Prakash Ratnaker. „Gender Discrimination in Mahesh Dattani’s Tara: A Critical Analysis“. Creative Launcher 7, Nr. 2 (30.04.2022): 31–41. http://dx.doi.org/10.53032/tcl.2022.7.2.04.

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Mahesh Dattani is a distinguished contemporary Indian playwright in English who works as a writer, stage and film director, actor, and theatrical personality. His plays are on the issues that arise in Indian contexts. He writes about those who are on the margins of society, such as minorities, women, gays, and transsexuals. The purpose of my paper is to investigate the female child's trauma in Mahesh Dattani's Tara. The predicament of Tara is akin to those of myriad unfortunate Indian females. In this conservative society, there are numerous obstacles to nurturing a girl child. On the one hand, they discover empowerment through good education, financial success, and individualism in society, yet our culture is unable to decimate long-held biases against them. "The girl child is still an undesirable arrival into an Indian home, even when the family is ostensibly educated and even has exposure to Western ideas," argues Dr. Jyoti Sharma (1). In this play, Tara is the daughter of an educated upper-middle-class family in Bangalore. The play's plot revolves around twins who are born with three legs, with blood circulation to the third leg coming from the newborn girl's torso. Only one of the twins could have two legs, while the other had to make do with one. The unwavering pronouncement to attach the third leg to the boy child's body to complete the child. This decision was not based on the medical ground but due to gender discrimination and injustice towards girl children in our Indian society. Dattani is concerned with gender discrimination and inequality toward girl children. This is done not because the girl is incapable of surviving in the merciless hands of society, but because societal conventions, economic standards, and cultural elements are to blame for this horrific activity. All of these circumstances constitute an ideology in our society in which the girl child must live and die. In this case, a girl's potential is sacrificed on the altar of gender, in which a female's role is also unforgettable and unforgivable, resulting in this unwelcome criterion.

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Subrata Saha, Asoke Howlader, Arindam Modak,. „THEATER AND HEALTH EDUCATION: REPRESENTATION IN SELECT PLAYS OF MAHESH DATTANI“. Psychology and Education Journal 58, Nr. 2 (01.02.2021): 3982–88. http://dx.doi.org/10.17762/pae.v58i2.2668.

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Theater plays a crucial role to represent the life and manners of a particular society. It acts as an informal tool for developing consciousness and promoting empowerment through education. Contemporary theater in India is no exception to this. It has the efficacy to build critical awareness among common people in general and women in particular. It critiques the social inequality and opens up the scope for bringing consciousness about gendered violence prevalent in contemporary Indian society. From 1970s onwards, the emergence of urbanization and industrialization had offered various opportunities for people irrespective of gender differences. Yet, it could not suppress the ‘other side’ of violence in Indian society. Mahesh Dattani, a pioneer in the world of modern Indian English Theater, is highly regarded as a social critic of contemporary urban life and manners. He sincerely presents dysfunctional families, individual dilemmas and societal problems, and gender issues including forbidden issues in his plays. As a conscious dramatist, Dattani reveals childhood maltreatment in his plays which focus on physical and mental illnesses among victims. He tries to sensitize the common people by representing the impact of discrimination on health as it is seen to be fatal in women. The present paper intends to analyze the impact of gender bias on women’s health as represented by Mahesh Dattani in his plays – “Tara” and “Thirty days in September.” In doing so, it embraces the educational implication of dramas through theater.

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Rajak, Purusattam. „Locating Sexual Dissidence and Body Politics in Mahesh Dattani’s on a Muggy Night in Mumbai“. International Journal of English Literature and Social Sciences 8, Nr. 1 (2023): 268–71. http://dx.doi.org/10.22161/ijels.81.35.

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Mahesh Dattani, a Sahitya Akademi Award-winning dramatist and a prominent voice among modern Indian dramatists, has been utilising his theatrical talent as a weapon to inflict fatal blows on the traditional conservative notions of Indian culture. In his plays he endeavours to dissect the prejudices and hypocrisies of so called ‘civilized society’ towards the weak and vulnerable. This paper will attempt to study how the characters with sexual deviation in Mahesh Dattani's acclaimed play On a Muggy Night in Mumbai negotiate with several social and cultural imperatives. Dejected by his boyfriend Sharad, Kamlesh is unable to cope with the circumstance, so he invited his gay friends to his apartment to get rid of his struggles against the mental anxiety and trauma of being gay. Attempts will be made to explore the private conversation between the characters as a symbolic reflection of the deep-rooted body politics and how far Surveillance and stringent homophobic gaze, implemented through numerous restricting mechanisms, endanger the existence of people who do not fit into the normative system.

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Vinod Kumar und Dr Om Shiv Pandey. „Biological Diseases and Harmonious and Emotional Treatment in the Service of Humanity“. Creative Launcher 5, Nr. 2 (30.06.2020): 128–33. http://dx.doi.org/10.53032/tcl.2020.5.2.15.

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Mahesh Dattani was among the few Indians who attempted to write plays in English during the post-independence period. His dramatic creations encouraged a new creative motivation for theatre aspirants who later exploited the nuances of the several Indian varieties of English on the stage. Dattani’s theatre group Playpen was formed in 1984 and he has directed several plays ranging from classical Greek to contemporary works. He wrote plays on new themes about body-that is not love but disease, a diseased body and mind. Crime, communal disharmony, misbehavior towards serious disease personalities and violence too find place in his plays. But he is not always looking at the dark aspect of life. His themes have variety and what's more important is that they are innovative. He is very serious in dealing with diseases like AIDS, cancer and disability openly. In the plays Ek Alag Mausam, Tara, and Brief Candle Dattani says that the same body which is the object of sexual desire is also subject to decay through disease and disability, Dattani seems to have considered. That is why he has written plays on diseases like AIDS, cancer and has shown the debilitation of human body by physical disability. In Ek Alag Mausam he deals with a biological disease, AIDS, and presents harmonious and emotional treatment in the service of humanity.

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Abinaya Sudha, M., und M. Ashitha Varghese. „The Cultural Silencing of LGBT Voices in India with Reference to Do the Needful: A Radio Play“. Shanlax International Journal of English 7, Nr. 4 (01.09.2019): 65–68. http://dx.doi.org/10.34293/english.v7i4.614.

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Culture deliberates the arts and philosophy, which are considered to be important for the development of civilization and mentality of the people. In a multicultural and multilingual country like India marginalisation of certain communities, including homosexual, is a significant problem that threads the fabric of our society. In modern society, gender and sexuality-based discrimination are witnessed all over the world. The term homosexuality has never gained social acceptance and has been treated down the ages as taboo subjects. Although sexual desires are a matter of instinctive behaviour, yet are controlled by social norms and morals. Therefore, heterosexuality is the only acceptable mode of relationship and is considered as a centre to our culture. The homosexual relationships are still stigmatized as unnatural and unacceptable in Indian social context and therefore often hidden under the shroud of privacy. Mahesh Dattani, an Indian writer, has chosen such taboo subjects and treated them with great confidence and sublimity to bring them from the boundary to the main stream. This paper focuses on the pathetic conditions of those who struggle between instinct and social culture concerning queer theory in the play DO THE NEEDFUL: A RADIO PLAY by Mahesh Dattani.

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Vinod Kumar und Dr Om Shiv Pandey. „Expression of Political Agenda of Eunuch’s Exploitation in Mahesh Dattani’s Seven Steps around the Fire“. Creative Launcher 5, Nr. 3 (30.08.2020): 116–23. http://dx.doi.org/10.53032/tcl.2020.5.3.16.

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Mahesh Dattani is an uncompromising director and playwright. He has used varied lifelike theatrical forms to engage the spectator in identifying the emotions carried by the voiceless, marginalized as well as minority people in India. He stimulates people to understand the real situation, prevailing in society. He makes the most effective use of stage to reveal the angst of voiceless society of India that will push the Indian society into the next level of definition for social civilization. He has created a new world for common people to think by giving vent to the frustration and anger of the long suppressed and unrecognized marginalized sections of society. When his plays are read, a new kind of experience is got altogether. Within the framework of dramatic structure, Dattani tries to look into the identities of those who get no space and recognition in social order and have been dragged in darkness. Some of the problems which the plays of Dattani deal with have rarely been discussed and recognized in India. In his plays he depicts mainly the middle-class Indian life and focuses on modern subjects like homosexuality, gender identity, contemporary social issues like violence and crime, human relationships and communalism. In Seven Steps around the Fire, Dattani presents the plight of the Hijras (eunuch) to whom society discards. It is found that they are socially and politically exploited in the Indian society as well as in the whole world. They are supposed to be the abandoned gender of the society consequently they face social, political, economic and emotion exploitation and discrimination in every step of their lives.

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Sharma, Himani. „Plight of Daksha: Identity Crisis and Communal Violence in Final Solutions“. SMART MOVES JOURNAL IJELLH 8, Nr. 2 (28.02.2020): 6. http://dx.doi.org/10.24113/ijellh.v8i2.10407.

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Mahesh Dattani is one among India’s avant garde dramatists. He worked as an actor, director, playwright, dancer and screenplay writer. He is one of the most serious contemporary playwrights writing in English. He is a master of language. He can express what he wants to say in any language. Throughout his dramas, he acts like a spokesman for all the marginalized people. His popular play ‘Final Solutions’ deals with the theme of communal hatred and violence. Exploring the issues of religion, hindu-muslim conflict, gender bias, generation thinking gap, Dattani seems to show the inner conflict inside each character in Play. Among all these characters, we sympathizes with Hardika the most. Her dear ‘Diary’ makes the things clear and we learn that she has witnessed this communal hatred for long time.

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Roy, Debartha. „Indelible Memory Clots: Child Abuse in Select Plays of Mahesh Dattani“. International Journal of English Literature and Social Sciences 7, Nr. 3 (2022): 020–26. http://dx.doi.org/10.22161/ijels.73.5.

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Child abuse is rampant in any society, regardless of its socio-economic or religious background. The purpose of this paper is to summarize how Mahesh Dattani addresses indecent treatment of children and incest abuse in some of his plays - a trauma that victims are often unable to open up to and are forced to cope with throughout their lives. It also presents the mental and physical ordeals faced by several of the characters due to their bitter childhood experiences: how Mala and her mother Shanta never recovers from their painful encounters with incest abuse (“Thirty Days in September”), taunts that disabled children get habituated to (“Tara”) and the way Jiten and Nitin’s abusive father will shape their character for the worse in future (“Bravely Fought the Queen”). Findings from this present study will demonstrate that different human beings react to childhood trauma differently, regardless of whether they disclose their past traumatic incidents to others or not.

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Sivakami, S. „Myths, Beliefs and Practices in the Select Plays of Mahesh Dattani“. International Journal of English Literature and Social Sciences 4, Nr. 1 (2019): 16–18. http://dx.doi.org/10.22161/ijels.4.1.3.

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Fatima, Sadaf. „Finding the Voice of Indian Urbanity – Through the Selected Texts of Girish Karnad and Mahesh Dattani“. International Journal of English Literature and Social Sciences 8, Nr. 4 (2023): 132–38. http://dx.doi.org/10.22161/ijels.84.23.

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In the present paper, I have endeavored to review the development of Indian English theatre since 20th century to emphasize the common themes and dilemmas that the Indian playwrights writing in English had to deal with special reference to the process of assimilation of Indian themes with the Western genre. The focus is upon analyzing the text from a post-colonial perspective. The aim is to show the manifestation of hybrid cultures in the urban areas as have been successfully represented by the Indian dramas by Girish Karnad and Mahesh Dattani.

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Gouda, Mr Y. Srinivasa. „Typical Indian Parents’ Mentality Portrayed in the Drama “Do the Needful” by Mahesh Dattani“. SMART MOVES JOURNAL IJELLH 9, Nr. 5 (28.05.2021): 161–69. http://dx.doi.org/10.24113/ijellh.v9i5.11056.

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Mahesh Dattani is a well-known playwright and a film director of India, whose themes mainly revolve around modern-day Indian issues. Although the main theme of the drama “Do the Needful” is not about the mindsets of the Indian parents, the researcher has found it interesting that the dialogues between parents of the Lata and Alpesh sound very much like the typical parents of many households. The qualities that the parents look for in a Son-in-law of a Daughter-in-law, the discussion between the mother and father weighing the pros and cons of the match, forcing the wedding on their children, talking high of the properties of the in-laws, all these factors are the stories of many households in India. This research paper is an attempt to bring out some of the typical characteristics of the mindset of the Indian parents with reference to the play. In the first part of the paper, the researcher introduces Mahesh Dattani as a playwright and introduces the general traits of the Indian parents. The researcher justifies that it is not to generalize but to reflect the attitude of the majority of Indian parents. In the second part of the play and the theme are explained. In the next part of the paper, various lines from the play that represent the theme are taken and explained amalgamated with the quotes of other researchers to justify the theme of the research paper. The last part of the research paper concludes with the critical appreciation of the play.

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Lama, Bhaskar. „Homosexuality and Indian Civil Society: Reading Mahesh Dattani After Decriminalization of Section-377“. Indian Journal of Gender Studies 27, Nr. 3 (15.09.2020): 349–68. http://dx.doi.org/10.1177/0971521520938978.

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The Indian Supreme Court in the Navtej Singh Johar vs Union of India judgement (6th September 2018), decriminalized homosexuality. However, the space cleared by the legal judgement cannot be immediately availed of by those affected by it because legally determined/defined space doesn’t necessarily become social space. This essay looks at the formation of this social space and the perception of homosexuality in civil society. It will examine the impediments of communication that homosexuals encounter in the heteronormative world, and the ensuing misunderstandings regarding homosexuality. It argues that a proper medium is necessary to provide communication in a social space that would then treat homosexuality as ‘normal’. I argue that Mahesh Dattani’s plays enable the imagination and the construction of such an accepting civil society.

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Singh, Aditya. „Evaluating Patriarchy in Select Works of Mahesh Dattani, Girish Karnad and Vijay Tendulkar“. International Journal for Research in Applied Science and Engineering Technology 11, Nr. 5 (31.05.2023): 5169–75. http://dx.doi.org/10.22214/ijraset.2023.52412.

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Abstract: This research paper critically evaluates the theme of patriarchy in select works of three renowned Indian playwrights: Mahesh Dattani, Vijay Tendulkar, and Girish Karnad. Patriarchy, as a pervasive social system, influences power dynamics, gender roles, and relationships within societies. The objective of this study is to analyze how these playwrights explore the manifestations and consequences of patriarchy through their dramatic works. Through a comparative analysis of these playwrights' works, this study aims to highlight the diversity of approaches and perspectives in portraying patriarchy within Indian theatre. By evaluating patriarchy through the lens of these eminent playwrights, this research provides a deeper understanding of the social, cultural, and political factors that shape gender dynamics in contemporary Indian society.

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Sharma, Mishail. „A critical analysis of the gendered self in Mahesh Dattani's Tara“. International Journal of Advanced Academic Studies 5, Nr. 11 (01.11.2023): 04–07. http://dx.doi.org/10.33545/27068919.2023.v5.i11a.1068.

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Deka, Diganta. „Newly ‘constructed masculinity’ in Mahesh Dattani’s Dance Like a Man“. International Journal of English Literature and Social Sciences 7, Nr. 5 (2022): 036–39. http://dx.doi.org/10.22161/ijels.75.6.

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The term ‘gender’ is used to describe the distinction between the socialized features of femininity and masculinity as well as the biological sex. It is a social construct that defines behaviors like masculine and feminine behavior. Gender plays a hugely important part in society. Specifically, a situation in which men frequently oppress women and where women are assigned responsibilities that make it clear that they are less capable of acquiring and using arbitrary authority than men are. The term ‘patriarchy’ often refers to the system in which this power appears and is exercised. Additionally, men tend to appreciate the power factor and insist on participating in activities that are primarily focused on them. So, a man’s identity defines his sexuality and area of work. Men also want to participate in activities that are largely about them and tend to appreciate the power component. A man’s identity thus determines his sexual orientation and line of work. In his play Dance Like A Man, Mahesh Dattani takes on these issues head-on as a dramatist. He challenges the socialization of gender roles and the hierarchy of the sexes. The present paper attempts to explore the discourse masculinity, patriarchal hegemony and gender construction within the margin of family unit characterized by generation gaps as depicted in the play.

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Rana, Amandeep, und Harpreet Kaur. „Communicating in the Third Space: A Psycho-Cultural Reading of Mahesh Dattani’s Radio Play Do The Needful“. Indialogs 10 (12.04.2023): 59–71. http://dx.doi.org/10.5565/rev/indialogs.227.

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Homosexuality, gay/lesbian relationships and same-sex marriage are a few bizarre issues that still raise a lot of eyebrows in our society; these people remain marginalized and uprooted in our socio-cultural setup. Mahesh Dattani’s first radio play Do the Needful focuses explicitly on some shared spaces among men, women and the third gender people in Indian society which pre-dominantly promotes the patriarchal family setup and discourages any change that challenges the established and existing structure of it. Dattani, very cleverly through the ‘thought’ technique, brings out his characters’ subconscious thoughts and their conflict with the socially constructed hegemony. They are not what society thinks of them; they are not what they want to be; they are not what they actually are; they are the inhabitants of a different world – a third space. Not only the two lead characters, Alpesh and Lata, but all characters search for ease in a third space. The ‘otherness’ that they feel in the psycho-cultural frame brings them to a common platform – Teri bhi chup, meri bhi chup. The present paper aims at testing Bhabha’s postcolonial concept of ‘the third space’ and ‘in-betweenness’ in the psycho-cultural sphere, by highlighting and analyzing the space created by various characters for themselves under the weight of repressed (homo)sexual desires, social structures and cultural constraints.

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Marigold, Vinita. „Portrayal of Women as Victims in Mahesh Dattani‟s Tara, Thirty Days in September and Beneath the Rubble“. International Journal of Psychosocial Rehabilitation 24, Nr. 5 (20.04.2020): 3191–99. http://dx.doi.org/10.37200/ijpr/v24i5/pr202026.

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Bhattacharya, Suchismita, und P. Suresh. „Mother-Daughter Relationship in the Plays Tara and Thirty Days in September of Mahesh Dattani“. International Journal of Engineering & Technology 7, Nr. 4.36 (09.12.2018): 640. http://dx.doi.org/10.14419/ijet.v7i4.36.24215.

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The mother-daughter relationship is the most beautiful and innocent relationship in this world. A mother does every possible thing to make her child happy. The relationship between a mother and daughter has considered one of the sweetest relationships on the planet because a daughter reflects the character and nature of her mother. In most of the cases, daughter is just the carbon copy of her mother. A child rests well in the mother's lap because it is the safest abode for the child. A child, especially a girl child is always special to her mother and vice-versa, but the feeling of being an individual gets ruined when a relationship between a mother and her daughter loses the balance. Relationships are based on trust, belief and love, and these three aspects are essential for the survival of any healthy relationship. Connections can either be made or can be broken, based on these three elements. The plays Tara and Thirty Days in September, written by the dramatist Mahesh Dattani, talk about the relationship between a mother and a daughter and the games also deal with the psychological mindset of the mother(s) and the daughter(s) and their sufferings in the urban society of India.

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Rafique, Hina. „Dramaturgical Analysis: Play With in Play as a Theatrical Technique in Mahesh Dattani‟s Play Where Did I Leave My“. Journal of English Language, Literature and Education 1, Nr. 01 (15.08.2019): 51–68. http://dx.doi.org/10.54692/jelle.2019.010138.

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This research study is an attempt to analyze the play Where did I leave my Purdah by an Indian playwright Mahesh Dattani. Primarily, this research study focuses upon a discussion of the employment of the theatrical technique i.e. Play Within Play within the structure of the play by Dattani. Ervin Goffman‟s (1922-1982) notion of dramaturgical analysis (grounded on his social analysis) has been taken as a theoretical framework to reinforce the proposition that performance of the actors on stage resemble their actual lives. Contextually, the protagonist‟s creed to perform the role of Shakuntala, a heroine from the classic epic Shakuntala by Kali Dasa, a Sanskrit writer, in the play has been negotiated, subsequently contributing to this corollary that the characters in the play, in their acts to perform legendary roles on stage, actually present their own lives, psyche, self, emotions and personalities through their roles. The researcher has two arguments to carry in this research, first how the text embedded play within play technique in the structure, secondly application of Ervin Goffman‟s (1922-1982) notion of dramaturgical analysis on the characters and plot. Hence, the lives of characters and their role performance on the stage have been negotiated as echo-perspective in the play by the researcher. So, this research would be a positive addition to the body of modern Indian drama and Sociology. This is basically qualitative research in design and is based on textual analysis.

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Manoj Kumar. „Mahesh Dattani’s Tara: A Critical Study of Gender and Social Discrimination“. Creative Launcher 4, Nr. 1 (30.04.2019): 69–73. http://dx.doi.org/10.53032/tcl.2019.4.1.11.

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Mahesh Dattani is a well known Indian English dramatist. He was born in 1958 in Bangalore, India. He is resourceful theatre artist, a drama teacher, stage director and a good dancer. He was awarded with the prestigious Sahitya Academy Award for his plays; Final Solutions and Other Plays. It is the first Indian dramatist who received this eminent award. Apart from this, he wrote many plays like Dance like a Man, Bravely Fought the Queen, Tara, Where There’s a Will, Thirty Days in September, On a Muggy Night in Mumbai, The Tale of a Mother Feeling Her Child, Complete Plays, (it holds 8 plays), Morning Raja, Collected Plays 2 Vol., Collected Plays. The themes of gender discrimination and social upheavals keep a lot of implication in his plays. He is a very strong and genuine voice of the middle class society in India. Most of the characters of his plays belong to the middle and lower class family. He deals the issues of societal construct of gender, the position of patriarchy, the dilemma and problems of homosexuals, the institution of marriage, the hypocrisy of the middle class and some other which are directly related to the middle class sensibility. There is expression of everyday events. He does not endeavour to present an unfeasible realism.Discrimination, Feminism, Patriarchy, Inequality

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Chhavi, Rajiv Bhushan und Priyanka Tripathi. „Mahesh Dattani’s Do the Needful: A Tussle Between Innate Sexuality and Imposed Identity“. Gender Studies 21, Nr. 1 (01.12.2022): 45–65. http://dx.doi.org/10.2478/genst-2023-0004.

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Abstract Although the issues related to sexuality are of prime importance in the contemporary world, in the Indian society they are closeted and ignored even today. Several social injunctions are conceptualized against men with alternative sexualities. To avoid social stigma, men refrain from coming out of the closet and accepting their natural sexual identity and orientation. However, there are certain playwrights who have addressed this otherwise taboo subject of sexuality on the Indian Stage. Mahesh Dattani is one amongst them. His plays firmly assert that gender and sexuality are concepts that are not confined to one’s biological orientation, but rather go beyond it. They are conditioned by socio-cultural norms and hegemonic practices. He elucidates how the socio-cultural determinants of gender and sexuality contradict one’s own individual instincts, sexual preferences and lived experiences. With reference to his famous play Do the Needful, this paper gives a brief account of the condition of Indian theatre pre- and post-colonization and projects the camouflaging techniques adopted by the discursive identities of gay people, for example, in order to conspicuously feature as straight and normal. It outlines the social constructions associated with gays in India and how these formations compel Indian men to internalize and succumb to the conventional norms of heterosexuality as the only acceptable norms.

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Sankhyan, Neeraj, und Suman Sigroha. „DECONSTRUCTING FALSE IDENTITY: EXPLORING GENDER DISCRIMINATION AND ROLE-PLAYING IN THE GIRL WHO TOUCHED THE STARS“. Celt: A Journal of Culture, English Language Teaching & Literature 15, Nr. 2 (22.02.2016): 165. http://dx.doi.org/10.24167/celt.v15i2.469.

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Mahesh Dattani, is an avant-garde Indian English dramatist known for his radical and unconventional dramatic themes. His plays are characterized by an extremely sensitive temperament that delves into the intricacies of the human nature and strives to expose the hypocrisy of the urban life and society. This paper discusses his play The Girl Who Touched the Stars as a quest for a lost identity. In doing so, the paper sheds light upon the underlying themes of gender discrimination, misogyny and role-playing that the playwright uses in this play to show how much these evils are rampant even amongst the educated classes of the society. Specifically, the paper explores the deconstruction of identity of the protagonist as employed by the playwright and examines the implications this technique has on the narrative of the play. The interconnection between the role-playing and the inherent theme of gender discrimination is also analyzed in order to see how these elements complement each other. Also, the paper comments on the efficacy of radio drama as a medium for handling a sensitive theme like this.

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Raymer, Mary. „The Position & Predicament of Transgenders in Dattani’s Seven Steps Around the Fire: A Critical Analysis“. Shanlax International Journal of English 11, Nr. 3 (01.06.2023): 14–17. http://dx.doi.org/10.34293/english.v11i3.6222.

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In the play Seven Steps around the Fire, Mahesh Dattani, a renowned playwright, portrays the deplorable position of Hijras (Eunuchs) in Indian society and his efforts to heighten the consciousness of the existential pain that these people endure as a result of prejudice in their daily lives. The goal is to evaluate how the Hijra community and the so-called sophisticated and biologically legitimate community, or the typical male and female in society, relate to one another. In the current inflexible societal framework, where their existence is neither recognised nor respected, Dattani's play Seven Steps around the Fire unpretentiously strives to disclose the additional efforts and additional changes the Hijras are needed to do in order for them to sustain themselves. Because of those limitations, they are compelled to live a life of insignificance, devoid of the status and acceptance that so-called normal males and girls naturally enjoy. Readers are moved by the play's description of the eunuchs' pitiful living conditions and are left with a deep wish to see injustice and prejudice eradicated from society. The play's tight-knit plots and supportive structure educate everyone about the Hijras' human rights, which are equal to those of other people and include the same fundamental freedoms. It exposes the appalling circumstances of the eunuchs, whose lives have been rendered meaningless by the ruling class (females/males) of society. The eunuchs are forced to live in a virtual world of humanity devoid of equality, cultural space, respect, and acknowledgment because they are given the freedom to impose their own cultural norms on this deprived class. This research paper deals with all these deliberations.

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Indu Bharti. „Social Consciousness Towards Kinners in Sanjay Johari's Play Kinner Maa“. Creative Saplings 1, Nr. 10 (25.01.2023): 69–76. http://dx.doi.org/10.56062/gtrs.2023.1.10.196.

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Sanjay Johari is the newly sprouting figure in the field of Indian English literature. He is the spokesman for his country's doubts, emerging issues and deteriorating condition of the people. In his first play, Kinner Maa, he tries to awaken social consciousness towards kinners who live a life of aloofness in the contemporary world. Generally, people think that kinners are uncounted persons of the society where nobody shows one's sympathy for them. The leading cause of this belief is that they are counted as neither male nor female, but it does not mean, they are not a part of society. They have the same passion and humanistic feelings as others have. We have no right to think they are invaluable persons in society. The humane outlook of Sanjay Johari makes the reader realize how to show sympathetic behavior towards them. Though the problem of gender discrimination is rapidly taking a step in the contemporary world. So many writers also express newly emerging problems like gender issues LGBT, homosexuality, transgender marginalization etc.in their works. Shobha de, Mahesh Dattani, Arundhati Roy etc. wrote many plays on these problems. Sanjay Johari has also tried to draw a picture on his Canvas of writing, and he has given different shades of people on it. Thus, Sanjay Johari tries to evoke human consciousness for such a community through this play. His only purpose is to highlight the realistic picture of the society in which people have automatically divided themselves into different categories. In fact, they are living in the 'Superiority Complex' where there is no place for such a miserable community. The truth is that the people of contemporary society are living in illusion, and perhaps they feel happy, and they are indifferent towards the subalterns and marginalized people.

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RAMALAKSHMI’S, Mrs P. „Communal Harmony In Mahesh Dattani’s FinalSolutions“. SMART MOVES JOURNAL IJELLH 2, Nr. 2 (16.06.2014): 12. http://dx.doi.org/10.24113/ijellh.v2i2.3247.

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Sarkar, Aninnya, und Indrani Singh Rai. „SUBALTERN PERSPECTIVES IN MAHESH DATTANIS BRAVELY FOUGHT THE QUEEN“. International Journal of Advanced Research 9, Nr. 11 (30.11.2021): 54–61. http://dx.doi.org/10.21474/ijar01/13712.

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Mahesh DattanisBravely Fought the Queen elucidates the defaulted picture of the Indian society, where the characters face a tremendous existential crisis. The women are badly dependent on the men characters for their survival, whereas the male characters are badly dependent on the patriarchal system for proving their dominant existence in the society. Every character in the play whether a man or a woman faces a gruesome crisis for their survival. They are not free birds who can drive their life by their free will. Women in the play are portrayed as the victims under the tyrannical hands of patriarchy, from which they are trying to escape from the claustrophobic existence to their own shaped world of independence. This paper is an earnest endevour to explore the existential crisis of the characters and search a probable solution.

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Ajay, Makwana. „Themes and Technique in Mahesh Dattani’s Brief Candle“. International Journal of English Literature and Social Sciences 6, Nr. 6 (2021): 035–38. http://dx.doi.org/10.22161/ijels.66.6.

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Srinivas, Dr C. S. „The Art of Characterization in Mahesh Dattani’s Plays“. IOSR Journal of Humanities and Social Science 22, Nr. 06 (Juni 2017): 71–73. http://dx.doi.org/10.9790/0837-2206107173.

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Yadav, Prashant. „GENDER ISSUES IN MAHESH DATTANI’S THIRTY DAYS IN SEPTEMBER“. Journal of English Language and Literature 10, Nr. 03 (2023): 101–5. http://dx.doi.org/10.54513/joell.2023.10311.

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Gupta, Purnima. „Mahesh Dattani’s Seven Steps Around the Fire: Breaking the Stereotypes“. International Journal of English Literature and Social Sciences 6, Nr. 6 (2021): 179–81. http://dx.doi.org/10.22161/ijels.66.28.

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Rishi A. Thakar, Rishi A. Thakar. „Mahesh Dattani’s Seven Steps Around the Fire : The Plight of Subalterns“. IOSR Journal of Humanities and Social Science 9, Nr. 6 (2013): 28–30. http://dx.doi.org/10.9790/0837-0962830.

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Bhartiya, Vandana. „Mahesh Dattani’s Dance like a Man : A Study of Gender Discrimination“. RESEARCH REVIEW International Journal of Multidisciplinary 6, Nr. 9 (15.09.2021): 150–53. http://dx.doi.org/10.31305/rrijm.2021.v06.i09.025.

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Das, Pinaki Ranjan, und Arghya Chakraborty. „(Un)-Doing Gender: Mahesh Dattani’s Dance Like A Man in Perspective“. IOSR Journal of Humanities and Social Science 19, Nr. 12 (2014): 15–17. http://dx.doi.org/10.9790/0837-191261517.

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Sadaf Fareed, Dr. „Mirroring Emotional Strangulation of Relations: Mahesh Dattani’s Thirty Days in September“. DJ Journal of English Language and Literature 2, Nr. 1 (02.05.2017): 1–5. http://dx.doi.org/10.18831/djeng.org/2017011001.

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A, Thamizh Magal, und Sunitha V. „The Stigmatization of Trauma: A Reflection on Mahesh Dattani's Select Works“. Studies in Media and Communication 11, Nr. 4 (04.04.2023): 108. http://dx.doi.org/10.11114/smc.v11i4.6059.

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Trauma is a response to an experience that devastates a person mentally. It frequently causes shock, denial, and changes in the body, mind, and behavior. People witness difficult circumstances and long-lasting repercussions on their psychological and physical well-being due to trauma. The chosen plays Tara and 30 Days in September are examined using trauma theory. The traumatic stigma of victimized characters and their offenders are explored and brought to light in the present study. The paper maps out the common aspects of trauma in Mahesh Dattani's plays and creates a portal for scholarly reflections on the author's ideology of trauma. It attempts to explore the reason behind the abnormal behavior of the characters and argues that childhood plays a major role in shaping the behavioral attributes of the adults. The researcher has made thematic analysis on the select plays through attentive reading. The study aims to develop an in-depth understanding on the effects of post-traumatic stress disorder on the characters taken for study and the possible ways to liberate from traumatic disorder. It strives to cease the stigmatization of trauma and emphasizes the fact that proper counseling, care and support will help the trauma affected characters to recover from the disorder.

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A, Thamizh Magal, und Sunitha V. „Influence of societal norms in Mahesh Dattani’s Bravely Fought the Queen“. Migration Letters 21, S1 (22.12.2023): 25–30. http://dx.doi.org/10.59670/ml.v21is1.5935.

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Social norms are viewed as a guideline for appropriate behaviour among communities. Social norms can be codified into rules and laws or they can be informal understandings that guide how people of a society behave. The aim of the paper is to elucidate the influence of social norms in the play Bravely Fought the Queen. Norms are important because they help shape people's needs and preferences, which act as criteria for choosing between options. But the exceeded amount of people blindly following the unwritten norms creates a huge impact on the lives of women and men. The selected play has been subjected to in-depth topic analyses by the researcher through meticulous reading. The study aims to improve character analysis in the chosen work by adding the social norms theory perspective.

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Kumar, Tribhuwan. „culture of patriarchy, gender bias, and class discrimination in Mahesh Dattani’s Tara“. Linguistics and Culture Review 5, S1 (08.07.2021): 60–69. http://dx.doi.org/10.21744/lingcure.v5ns1.1314.

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This research paper, which makes use of Mahesh Dattani's play Tara (1990), emphasises the concept of social issues such as gender inequalities, suffering, and depression, which are experienced by both men and women in equal measure. Gender discrimination, injustice done solely on the basis of gender, and preference for male children in Indian homes are all issues that are the focus of this research. Tara, Dattani's other play, addresses the issue of gender discrimination. The play addresses the emotional and physical separation of conjoined twins. It exemplifies the society's ingrained patriarchal system. Women act as a key in patriarchy's hands, ensuring the survival of patriarchal values. The purpose of this article is to discuss and analyse the play's issue of female marginalisation. Chandan, a boy child, is preferred to Tara, a girl child, in an Indian family. Despite the fact that she is Tara's mother, Bharati wrecks her daughter's life and ultimately suffers as a result of her harsh behaviour. Dr. Thakkar makes an error in his capacity as a scientist and a technophile. Bharati and her father bribed him with a piece of land in exchange for Tara’s death.

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