Mahesh Dattani is one of the most famous modern Indian – English playwrights. In many of his plays, he deals with various issues like homo sexuality, gender discrimination, communalism and child sexual abuse. This paper is a modest attempt to study the gender-based injustice and. KEYWORDS: Indian English Playwright, Mahesh Dattani, Identity, Social Constructs, Gender INTRODUCTION Having won the Sahitya Akademi Award for his. The aim of this paper is to unveil the talent of Mahesh Dattani not only as a writer or director but Tara, the play exposes female discrimination in Indian society.
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Tara: A Play in Two Acts. By Mahesh Dattani. About this book · Shop for Books on Google Play. Browse the world's largest eBookstore and start reading today on. Mahesh Dattani's Tara: A Silent Scream of the Indian Girl Child. Jyoti Sharma. Indian Drama' is the broad concept comprising entire Indian myths, and culture. Tara book. Read 9 reviews from the world's largest community for readers. Tara and Chandan have always been close. They were, after all, born as conjoine.
Every girl child born in an Indian family suffers some kind of exploitation. Dattani's Tara is a typical woman character and she has been widely acclaimed and differently interpreted based on gender and race.
Dattani boldly express the exploitation of Indian women in his work as it is very much visible as the privileges are consciously or unconsciously propounded to the son in the Indian families. Mahesh Dattani himself mentioned in one of his interviews with Lakshmi Subramanyam: "I see Tara as a play about the male self and female self. The male self is being preferred in all cultures. The play is about the separation of self and the resultant angst".
There is differentiation between a male and a female child.
All propaganda about equality of male and female as well as the claims about providing equal opportunities to women in all the fields are feigned. Dattani has unveiled all the proscribed subjects from under the hat and putting them on the stage for the public to review; Dattani's Tara probes the dilemma of a Siamese twin.
Considering the playwright's foresight, critics have observed that playwrights, who have had the guts to address such poignant issues threadbare and also brought them to lime -light, should be encouraged. The play Tara revolves around Chandan and Tara Patel, a critical operation to separate the twins at birth, which leaves Tara crippled for life.
The play explores and exposes the typical Indian mind set which has from time immemorial preferred a boy child to a girl child. Discrimination, sexism, hypocrisy and age-old myths are all examined; what emerges is a work that stimulates and disturbs. Erin Mee calls Dattani "a young playwright who can create a new generation in the Indian English Drama which deals with the invisible social issues".
Mee in her note on Tara observes that Dattani's preoccupation in the play are "the invisible Indian social issues". She adds: Woven into the play are issues of class and community, and the clash between traditional and modern lifestyles and values" The play dealing with the feelings of Siamese twins is also "about the gendered self, about coming to terms with the feminine side of oneself in a world that always favours [sic] what is 'male'.
Dattani "takes a medical liberty" and concentrates more in the "emotional separation" of the twins than their surgical separation Dadiya and Surendran 11 Mahesh Dattani himself had once told Sachidanante Mohanty in an interview that: Tara is about a boy and a girl, Siamese twins, I have taken medical liberty over here because Siamese twins are invariably of the same sex and they are surgically separated at birth. It was important for their survival and the play deals with their emotional separation.
The play Tara is also a metaphor for the conjoined and separated male-female entities and the male given preference over the female. This was an unlikely subject, even though a 'freaky' one, and yet the play went on to become one of Dattani's best loved works.
In the surface 'unreality' of its subject, Dattani's exploration of his milieu was skillfully worked out, as were his meta-theatrical objectives of the artist-dramatis- writer looking in his own art. Tara is a engrossing play that questions the role of a society that treats the children of the same womb in two not just different but opposing too.
The fact that the injustice is perpetrated by the victim's own Mother as most of the rural Indian women does whose preference to the male child makes the play more poignant and suggests indirectly that it is women, not men who continue the chain of injustice to women right from the moment of their birth.
Impact Factor JCC : 4. It is about the story of a girl child born in an Indian family. The situation gets aggravated and turns worse if the girl is physically or mentally challenged. It is a better example of child-abuse that is prevalent in a section of the Indian society. Every girl child born in an Indian family does suffer some kind of exploitation and is very much aware of it as the privileges that are denied to them are consciously or unconsciously provided to the son.
The play Tara, according to Dattani, introduction to the play had been inspired by Tennessee William's play The Glass Menagerie, which is based on Tennessee William's real-life story. Tennessee William's father belonged to a middle class family like Tara's father Patel.
Tennessee William's mother belonged to an affluent family of the bureaucrats like Mrs. Bharati Patel. Just like the Williams, the Patel also very often quarreled over the place of woman in a family.
The play Tara opens in London with Chandan, now a playwright, recollecting his past, particularly, the childhood days he had spent happily with his sister Tara.
TARA Mahesh Dattani
As Mee states: "Dan writes Tara's story to rediscover the neglected half of himself, as a means of becoming whole". Dan says: "I have my memories But now I want them to come back. To masticate my memories in Mind and spit out the result to the world in anger".
Tara The privileged brother Chandan wants to record his anguish over his sister's childhood in a drama. One tends to feel that in Tara she bears some kind of hatred against the society throughout the play.
There is a kind of aversion with the outside world for Tara's little world consisted of only a few persons: her parents and her brother with whom she was very close. Her affection towards her brother and the internal anguish is expressed in her conversation with Chandan. She says: "May be we still are. Like we've always been, inseparable. The way we started life. Two lives and one body, in one comfortable womb.
Till we were forced out Tara explores as well as exposes the typical Indian mindset, which has, down the ages, all the time preferred a boy child to a girl child. The play depicts the triumph and the failure of an Indian family, comprising the father Patel , the mother Bharati , and their children Tara and Chandan , coping with the trauma of disability. This is expressly stated by Dattani himself in his interview to Lakshmi Subramanyan: I focus on cultural emphasis on masculinity and how all the characters are at conflict with that.
The parents, the grandfather the neighbor - they are all in that sense in tension with their own sensibilities, as opposed to cultural sensibilities they may have knowingly or unknowingly subscribed to. Patel's leaves Tara crippled for life and it is noticed that Mrs. Patel's guilt gets revealed repeatedly throughout the play. She tries to compensate for this unfortunate decision about their daughter through her excessive concern for her. Her sense of regret is so deep that she agrees to donate her kidney to her daughter so that she may survive a few more years.
While conversing with her son, she tells him: "I plan to give her happiness. I mean to give her all the love and affection which I can live. It's what she Love can make up for a lot". Tara As the play progresses, another interesting character, Roopa, gets introduced.
She is an impertinent and extremely talkative neighbor of Patel's family. It is largely she who brings the strain of humour to the play. Two peas in a pod that's something we aren't Tara This description makes Roopa burst into laughter, much to the surprise of the twins.
Roopa tells them that the imagery of two 'peas in a pod' is extremely hilarious. Bharati's unnecessary bullying of Roopa into friendship with Tara and even trying to bribe her into spending more time with Tara is disgusting and demeaning. The interesting conversation between Bharati and her neighbor Roopa shows that Bharati is just ready to do anything for the sake of her unlucky child's Tara's happiness: "you can watch whatever you want!
Just be my Tara's friend". Bharati's internal turmoil is so intense that it often comes out in the open in her relationship with her husband. She is always complaining about something or the other. Her father's wealth is always a bone of contention between Mrs. Patel and her husband. Patel is often seen complaining to her children about their father and especially about his attitude towards their grandfather.
He doesn't want us to use any of your grandfather's things [like tumblers and plates]" Tara Mr. Patel is always conscious of the insult that Bharati had often heaped on him by using her father's wealth as a force of strength against him. It was the same strength that Bharati had used in taking the unjust decision on the separation of the Siamese twins through surgery.
Societies in India have always had a male dominated perception. All decisions in a family are taken only by the senior male member of the family. Even if there is a female member who is elder to the male, she is not given as much authority as the male. Patel's father-in-law, the eldest among the three members of the family, is also a powerful and an affluent politician.
He was the person who decided about the operation in which the conjoined leg was to be given to Chandan in place of Tara. He had even bribed the doctor with the sanction of a piece of land in Bangalore. Thakkar fell from his high status in the society without giving a second thought, along with his team, while deciding the nature of operation.
Instead of taking a sound medical decision of leaving the leg with Tara, he had sold out his conscience for the temptation to fulfill his ambition. Patel were warned by the surgeon that in almost all the cases of such kind, one of the twins always died by the age of four.
In spite of this fact, they cause injustice to the innocent girl-child Tara. Tara is neither Chandan's tragedy nor is it really of Tara's. It is a society. Dattani has presented the bi! In this play. The relationship of harati and Tara becomes ea7er on the discovery of truth. I mean to give her all love and affection. Dattani cleverly tears off. Tell themL I ant to hear.
Dan tries to define his other half. May be Fod never anted us separated. In this country so much partiality and differentiation is there for omen. Erin Mee says. Dattani sees Tara as a play about the gendered self. Tha77ar stands on the highest level throughout the play. This day. Tha77ar collaborates ith them and gives the male child better chances physicallyEthe second leg to -handan.
The suffering of Tara and -handan is a symbolic validation to the perception that the elegance of the relationship eCists not in their separateness but in their moving in a coordination or interdependence. The Duestion remains. Tha77ar disproved his godly profession and let himself bribed by haratiMs father and became a coEconspirator in the bi!
In our society. Even though she is more intelligent. If e thin7. An the one side they promise for omen security. If her parents had given her moral support. Identity crisis becomes a chain ith hich a female is bound hen the Duestion of choice bet een male and female comes up. It is note orthy that discrimination ith Tara continues. Tara could have made her boldness.
Dan apologises to Tara for doing this. Tara is 7illed by this social system.
Even he leaves all his property to -handan and not a single penny for Tara. TaraMs potentiality as sacrificed at the altar of gender. It as his money. This man can be a father. This made her lose interest in life altogether. Mahesh Dattani has very deftly revealed the theme of gender discrimination in this play. The trauma of coming to 7no the role her mother had played in her life. The social norms.
I ill spend the rest of my life feeding and clothing those.
EEEEstarving na7ed millions every here. Flag for inappropriate content. Related titles. Discrimination of Class and Gender: Character Analysis for Raja Rao's Kanthapura. Naito Chizuko  Reorganizations of Gender and Nationalism.
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Tara: A Play In Two Acts
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TARA Mahesh Dattani
Yasemin Ertugrul. More From Karma Arnab.Need an account? Jain, Nemichandra. Discrimination, sexism, hypocrisy and age-old myths are all examined; what emerges is a work that stimulates and disturbs. The dramatist concentrates on the tautness, pressure and instability of the characters ensuing from annihilation of individual wishes in the name of strong socio-cultural customs. Dattani is a truly multifaceted personality and wears many hats, besides being a playwright he is also an accomplished actor, director, film maker, screenplay writer, teacher and a dancer.
The modern Indian drama concentrates on the several current issues and the real life problems. Bharati Patel. Search inside document.
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