The film "Dadi 's family" is about a family in Northern India. In the movie we are introduced to a family that consists of a big extended family living one one household. This film explores the idea of family and the roles that women play in the households. In the film we are introduced to six roles that are performed in the day to day household. The six roles exposed in the film would be the roles of daughter, mothers, mothers-in-laws, daughters-in-laws, sister-in-laws, and sisters.
As times have changed we take notice on the difference of how Dadi speaks on her experiences to what we see now with the interaction with the daughter in laws and her family in law. We catch sight of Darshini as someone who speaks up towards her mother in law. Darshini feels the amount of work they are necessitated to do is all because of Dadi. Dadi is also witnessed talking poorly about her daughter in law Sita, and Darshini is quick to put Dadi in her place and tell her to stop and get back to work. The use of speaking back to one’s mother in law is one ample difference on how women were timid and how times have changed, daughter in laws have become more out spoken and confident to talk back.
He was against of abduction of Sita and advised Ravana to return Sita to Rama and apologize. Ravana opposed the advice of his younger brother and threw him out calling him a coward. Subsequently he joined Rama’s army and played a vital role in making strategies against Ravana and defeating him. He was the one who knew the secrets of Ravana and his son Meghnadha. Vibhishana had a ‘sattvic’ nature and he was the one who stood beside Hanuman when he was humiliated by Ravana.
Saoli Mitra uses the tradition of kathakata for both her plays – NathabatiAnathabatand Katha Amrita Saman.Kathakata is an indigenous folk form of story-telling in Bengal. In the Bengali translation of ‘Narrative Theatre’ written by Saoli Mitra, Saoli says that the idea of performing the play, NathabatiAnathabatin the folk tradition of Kathakata came naturally to her. It is quite interesting to hear from Saoli that she never saw Kathakata before 1983(NathabatiAnathabat’sfirst performance). Saoli defines the Kathak as a narrator, a story-teller in pre-modern Bengal who would narrate the major Hindu scriptural texts with verbal and musical embellishment. Such performers were mostly males paid to perform at annual rituals or family rites of passage.
In the play Bravely Fought the Queen Dattani highlights the “three generations portraying the exploitation by men. “The play also reveals the fact that the suppression cannot last long as women will fight back to question the autocracy of men” (Dhawan and Pant 48). “Women in Mahesh Dattani’s plays are not victims. They are marginalized but they fight back”
Amir was pretermitted by his Baba. He felt himself causative for the death of his mother who passed away during childbirth. He thinks that his Baba has never pardoned him for this. While his father is represented as a physically imposing man, a bear wrestler in fact, as well as an important male in his community and land, Amir is calm and apparently without courage and determination. Hassan is brilliant, brave, trustworthy, and athletic.
Thus Dattani’s drama showcases the stark reality of the life and warrants the attention of the world towards the pressing needs of the time. (Jha 7) The shocking revelation of the mother deciding to favour the son before the operation comes as a jolt to the audience, showing how deep the gender discrimination has seeped into the minds of the people in the society. The play Tara “looks at the battles, the victories and the defeats of an Indian family coping
Radha’s reaction was full with rage and tries to immediately kick Mundu out of the house. Radha didn 't know that there was a huge importance in catching Mundu in the act. The lesson is that she learned that desire is okay and that she has been deprived from desire from her husband for thirteen years and Sita had introduced it back to her. The film comes to end where Mundu tells Ashok that Sita and Radha are having a sexual relationship and Ashok catches them in the act of making love. From that point Sita leaves and tells Radha that she will wait for her and Radha says that she wants to Ashok and tell him that she is leaving him.
Mahesh Dattani is one of India 's best and most serious contemporary playwrights, writing in English. He is the first playwright in English to be honored with the “Sahitya Akademi Award”. He arise voice through his writings where he saw the vice of the society against the innocent. He brings out the darkness to the light of the world through his words. Most of his plays are discussed about Taboo issues, Gender bias, social discrimination and marginalised area of the society.
This novel subtly shows the difference between the values ascribed to male and female traits in which man’s needs take precedence over women’s needs. Deshpande subverts stereotypical conventional ideals of motherhood, femininity, and masculinity. She shows both male and female sexes transcending their gender attributed traits. Female characters in this novel- Kalyani, Sumi, Aru exhibit masculine traits which are conventionally associated with males, on the other hand male characters- Shripati and Gopal, who escape their duty and responsibility towards their families, unveil feminine traits. Vinay Kirpal also is of the opinion that “Deshpande’s protagonists generally seek to come out of their tradional beliefs” (Geethamala, 196).