Chhavi1 & Rajiv Bhushan2
1National Institute of Technology Jamshedpur, Hostel- b NIT Jamshedpur – 831014, choudharychhavi06@gmail.com, 0000-0002-2044-0172
2National Institute of Technology Jamshedpur, Associate Professor Department of HSSM Jamshedpur – 831014 India, rbhushan.hum@nitjsr.ac.in, 0000-0002-3646-2181
Volume 12, Number 5, 2020 I Full Text PDF
DOI: 10.21659/rupkatha.v12n5.rioc1s11n2
Abstract
Mahesh Dattani is one of the leading Indian dramatists who responded to the problems of sexuality on the canvass of Indian theatre. He examined various facets of subjugation and marginalization rampant in Indian society. His plays focus on the sub-urban Hindu family and its trifle with gender and alternate sexuality. His plots revolve around the damaging implications of patriarchal constructs and his characters strive for liberty and self-satisfaction beneath hegemonic masculinity, compulsive heteronormativity and prejudiced cultural domain. Regarding his famous play Dance Like a Man, this paper critically examines the existing socio-cultural domain which practices politics of exclusion of androgynous identities behind the façade of peacefully cohabiting heterosexual Indian family and shows how Dattani, has remarkably countered the presentation of the polarized association of gender roles with conventional practice through performance of his protagonist. Set against the backdrop of patriarchal mindset, this paper delineates that the victim of patriarchal norms is not a woman but a man, who has traits of androgyny. It gives a brief account to highlight the significance of androgyny and portrays how androgyny is directly proportional to creativity. It elucidates how androgynous men undergo searing experiences of stigma and social untouchability in a traditional setup and how patriarchal norms reinforce dominant powers of society to stunt the growth of their personality.
Keywords: Androgyny, Creativity, Exclusion, Hegemonic masculinity, Patriarchal norms.