Analysis Of Dina Mehta's Getting Away With Murder

Despite all great scientific advancement, urbanization and industrialization, violence and the terror that it brings along have nevertheless been co-existing with all developments. In this light, women dramatists of India like Manjula Pdmanabhan, Dina Mehta, Poile Sengupta and Mahasweta Devi have been candid in their revelation of violence in the plays that they have written. With the broad perspective of feminist narration, the plays of Dina Mehta seek to resound the stifled echoes of violence and terror from the closed doors of the households and the cold premises of human relationships. Thus, dexterously juxtaposing the aspects of violence and subjugation, the plays center around the woman who from cradle to grave is terrorized and subjugated at every stage of her life. Dina Mehta’s Getting Away with Murder goes a long way to address issues of child abuse, its associated trauma, rape, female feticide, blind superstitious belief that is guilty of deterring human progressive development, but acts as the silent demon eating away the very fabric of humanity in the Indian

She works with Mr. Pinglay who is a male chauvinist and limits Mallika to secretarial work all along, even fixing up her lunch with clients without her consent. The truth however is that it’s Mallika who is there on the front line, getting all the business and running the entire office. Mr. Pinglay resorts to sexually harassing Malu’s secretary Thelma, blackmailing her with the three phone calls that she had made some time back. In Thelma’s words, “he – he makes vulgar talk… and wicked gestures… asking me to accompany him to hotels outside the city” (Getting Away