Shantata! Court Chalu Ahe (Silence! The Court is in Session, 1967) was his first play in which he marked out as a rebel against the established values of the society. This play combines social criticism with the tragedy of an individual victimized by society. The play represents the mental conflict of the protagonist, Miss Leela Benare who appears during the mock-trial as an accused. The plot of the play revolves round the trial of Miss Benare. Her role eclipses the roles of her male-counterparts. In love, she is cheated twice; first by her maternal uncle and later by Prof. Damle, her loving–companion. However, in the first event, the guilt passes unnoticed and hence, unpunished. But, in the other one, she is caught in a trap, through the cruel …show more content…
Here Tendulkar develops a dramatic situation through unconventional ways of the protagonist. Sakharam, the protagonist, exploits women in the play. Tendulkar through Sakharam tries to establish a more dynamic and flexible vision of personal relationship in which socio–economic security is not the ultimate destination. The honest and unconventional relationship adopted by Sakharam seems to be a more desirable option to resolve the conflict born out of gender discrimination. Sakharm’s thesis of life presents a very vital argument that double dealing in the name of morality is more dangerous than the open display of the meanness existing in the human …show more content…
He belongs not only to the late 18th century Peshwa regime but can be seen in any period of human history and in any corner of the globe. His rise and growth to power from Savaldas to the most controversial Kotwal of Poona is symbolic of the magnitude of corruption in our society. So, the incident in the play is historical but the way in which it is treated renders it universal. According to Girish Karnad, “…in Ghashiram Kotwal, Tendulkar uses Dashavatara a traditional semi–classical form,”11 and likens Ghashiram to the legendary giant Bhasmasura, who threatens to destroy his own creator.
In A Friend’s Story (1981), Tendulkar uses his pen to investigate the crisis of the community of homosexuals who are treated as sick and immoral in a society that only accepts and permits sex relationship among the heteros. The play A Friend’s Story is based on Tendulkar’s story Mitra that was written in the mid-50s. It was based on the life of a girl who lived in Pune. Tendulkar, in this play, for the first time introduces the homosexual relationship. In the framework of this unusual mode of relationship, Tendulkar explores
“violence, sensuality, wickedness that resides in human nature.” (Wadikar: 54)
The play focuses upon the struggle of a young girl Sumitra who defies the traditional feminine roles and maintains masculine ways of living. She suffers from
In this drama, she also brings the idea of feminism. She is an outstanding woman teacher who can survive among hundred of male senior high school students and many expert male teachers. She knows how difficult it is to struggle among men at that time.
Gender roles are portrayed through the complementary theme of love and marriage; the play provides an insight into the motives, pressures and expectations of individuals previous to, and whilst wedded.
Mahasweta Devi’s short story, “Giribala,” is about the life of Giribala, a girl of Talsana village located in India. Born into a caste in a time when it was still customary to pay a bride-price, Giri is sold to Aulchand by her father. From this point on, we see a series of unfortunate, tragic events that take place in Giri’s life as a result of the circumstances surrounding Giri’s life. There are many issues in Giri’s life in India that Devi highlights to readers. First, the economic instability of the village leads to an extremely poor quality of life for the lower, working classes. Next, the cruel role of women determined by men in society is to either satisfy the sexual desires of men or to reproduce offspring who can work or be sold off to marriages. There are also other social norms and beliefs which discriminate against women that will be discussed.
At first glance, the documentary Meet the Patels could easily be billed as a real-life My Big Fat Greek Wedding. Centered on Ravi Patel – a first generation Indian-American man – and his quest for love, it certainly displays all the trappings and inner workings of a riveting romantic comedy. However, beneath the exterior mesh of a typical boy-meets-girl frame story, as well as Ravi’s interactions within his branch of the Patel clan, one can also detect various allusions to the struggles of American homosexuality and gay marriage within the plot.
This paper attempts to examine the fictional projections of Indian girls, to see how they emerge in ideological terms. Their journeys from self-alienation to self-adjustment, their childhood struggles against the hypocrisies and monstrosities of the grown-up world, eventually demolishing the unjust male constructed citadels of power that hinder their progress- are the highlighted issues. The point of comparison between the two novels focused on here is the journey of Rahel in The God of Small Things and Sai in The Inheritance from a lonely childhood to a tragic adulthood passing through a struggle with the complex forces of patriarchal society. Both the novels portray the imaginativeness, inventiveness, independence, rebelliousness, wide-eyed wonder and innocence associated with these young girls.
The most prominent woman figure in this play is Linda, but the male characters in this play also give us insight into women’s roles and help feed the feminist analyses
The Young Woman has all of her decisions made for her, and the machine noises playing in the background represent the anxiety and uncomfortable energy growing inside of her. The Young Woman marries a man she does not love, gives birth to a child she does not want, and has an affair with a man she can never have. Gender inequality factors into all of these obstacles the Young Woman dealt with throughout the play. Finally, unjust punishment is a theme because the Young Woman is sentenced to death for murdering her husband. Unfortunately, the society she lived in failed to understand that the Young Woman did not want to conform to its mechanicalized way of life.
In the play Sakuntala, Sakuntala and the King embody and embrace the societal gender roles expected of them. Sakuntala is a shy, innocent maiden that has caught the King’s eye,
In our school feminism is not the big topic. We are all treated equally here, which we don’t realise we are taking for granted. But it wasn’t always this way. The social expectations of women in the ‘90’s has significantly changed from Shakespeare's time. The hint of feminism in the play “Taming of the Shrew”, shows how non-existent the notion is in that time period. This is also reflected oppositely in the movie “10 Things I Hate About You”, by Kat’s assertion of self, and treatment of her male counterpart. Further analysis of the relationships impact on Katharine and Petruchio, from “Taming of the Shrew”, and Kat and Patrick from “10 Things I Hate About You”, as well as how they differentiate between play to movie, will show this topic further.
The engaging plot of the play is a major reason for its success. The story is filled with uncertainties faced by the youth coming of age. The different sexual, emotional, and career related change going on in the lines of the protagonists is portrayed in a tasteful manner, the plot still mentions contemporary issues such as gay right, racism, and pornographic addiction; the portrayal
Katharina started off the play as loud and rude, not what the typical female is seen as. But, when she is like this, nobody actually wants her around. So they give her off to a husband who can tame her, and when she is finally “tamed” that is when she is accepted. The latter character portrays her gender role down to a T and are not told to change. The way this play was written raises many questions about gender roles and shows us the flaws of society.
Mahesh Dattani‘s ‘On a muggy night in Mumbai’ is the first Indian play boldly dealing with the subject of homosexuality. It deals with the gay themes of love, homosexual vulgarity among the youths in a materialistic world, partnership, trust, and betrayal. But traditionalists consider such a relationship as something unnatural, obnoxious, and a disgusting one. Mahesh Dattani in one of his interviews says, "You can talk about Feminism because in a way that is accepted. But you can't talk about gay issues because that's not Indian, that doesn't happen here."(50) Therefore, Mahesh Dattani boldly portrays homosexuality in his plays like ‘On a muggy night in Mumbai', 'Do the needful', and 'Bravely fought the queen'.
This essay focuses on the theme of forbidden love, The God of Small Things written by Arundhati Roy. This novel explores love and how love can’t be ignored when confronted with social boundaries. The novel examines how conventional society seeks to destroy true love as this novel is constantly connected to loss, death and sadness. This essay will explore the theme of forbidden love, by discussing and analysing Ammu and Velutha's love that is forbidden because of the ‘Love Laws’ in relation to the caste system which results in Velutha’s death. It is evident that forbidden love negatively impacts and influences other characters, such as Estha and Rahel, which results in Estha and Rahel’s incestuous encounter.
Abstract: The famous Rani Lakshmibai of Jhansi is often celebrated as icon of our freedom struggle, symbol of bravery and a beacon of light. We have idolized her as a goddess- a role model for women, rarely trying to examine and even deliberately ignoring her human aspect.The novel traces all the historical events in Rani's life which form the skeletal framework of the manuscript but it goes beyond that to fill in the flesh and blood through the emotional turmoil and experiences of its characters. The present paper analyzes the mix of history with fiction in the novel Rani.
Skandgupta (1928) the play we study here is regarded as Prasad’s most powerful play in which his dexterity in handling the plot “has few parallels.” The play is named after the Gupta King Skandgupta, who tried actually to stem the march of the Huns into India. The hero faces the rebellion of his stepmother, Anantdevi, assisted by Bhatark and Prapanchbuddhi. He fights, at least, three battles besides having to bear the brunt of many domestic conflicts. The play is indeed a plethora of conflicts – domestic, political, social and religious. In this play, “the concept of tragedy introduced into Hindi drama by Bhartendu was given another dimension by Prasad where the hero in his final victory suffers from his personal tragedy.’1