International Journal of English Literature and Social Sciences

Vol-7, Issue-4; Jul-Aug, 2022

Journal Home Page Available: https://ijels.com/

Journal DOI: 10.22161/ijels

Performative Aspects of Mahesh Dattani’s Plays

Ms. Dimple D. Mapari, Shankarlal Khandelwal

Arts, Science and Commerce College Akola, Maharashtra, India

Received: 21 Jul 2022; Received in revised form: 10 Aug 2022; Accepted: 15 Aug 2022; Available online: 19 Aug 2022
©2022 The Author(s). Published by Infogain Publication. This is an open access article under the CC BY license
(https://creativecommons.org/licenses/by/4.0/).

Abstract— Modern theatre in India comprises mainly of English, Hindi, Marathi and Hinglish (comprising
of a mix of Hindi and English dialogues) plays. English theatre was brought to India during the British
rule and was watched mostly by art connoisseurs of the rich, upper class. This, however, changed after
independence, as, many Indians entered the fray and theatre slowly became open for common people too.
The post-independence Indian English drama is notable for a wide range of subjects treated, issues
presented and also it takes into its compass some globally appealing issues. It displays a remarkable
growth and maturity. Mahesh Dattani is a dynamic dramatist, a professional Baratnatyam dancer, a
drama teacher, a stage director, and an actor. A person, who has touched almost every aspect of the
theatre and has received the first ‘SahityaAkadami Award’ (1998) for writing in English, he is rightly
called the successor of Girish Karnad for his innovations in dialogue writing, pragmatic stage decorations,
light arrangements, etc. One of his major contributions is that he has infused actability into Indian drama
in English. It seems that, all the limitations, which in a way marred the beauty of Indian English theatre
down the decades, are finally overcome. As Reena Mitra observes, ‘Dattani confidently challenges the
traditional denotations and connotations of the words’ India’ and ‘Indians’. 1 What makes his plays
‘performance oriented’ are his dramatic techniques. The paper intends to focus upon the aspects which
make his drama stand out.
Keywords— Dramatic Techniques, dialogue, symbolism, and staging.

Michael Walling thinks that Dattani’s plays ‘Fuse the The different devices add the suggestive meaning, totality
physical and special awareness of the Indian theatre with to the action, and enable the ‘Organic’ perception of the
the textual rigor of western models like Ibsen and act or performance on the stage. They help the audience to
Tennessee Williams. It is a potent combination, which feel the act through sensory mediums as much as possible.
shocks and disturbs through its accuracy, and its ability to The use of the techniques varies from person to person and
approach a subject from multiple perspectives. Post the result they want to achieve.
colonial Indian and multi cultural Britain both have an Dattani has a whole range of themes. What makes him
urgent need for a cultural expression of the contemporary; different is the treatment given to the themes. He turns
they require public spaces in which the mingling of eastern even the controversial and topical themes into the highly
and western influences can take place. Through his fusion entertaining themes. In ‘Bravely Fought the Queen’ he
of forms and influences, Mahesh creates such a space.’ 2 presents the conflict between traditional and contemporary
‘A drama is the imitation of a complete action, adapted to cultures that has created a new social lineage. His themes
the sympathetic attention of man, developed in a have striking contrast they deal with most extraordinary or
succession of continuously interesting and continuously sometimes Taboo issues in the most simple and straight
related incidents, acted and expressed by means of speech way. Gender-identity, gender discrimination, marginalized
and the symbols, actualities, and conditions of life.’ 3 genders, etc. Dattani uses theatre as a powerful tool for
Dramatic techniques are used by the playwright to enhance mirroring the society. Right from the moment any idea
the meaning and understanding of drama by the audience. comes to his mind he very well knows that it is to be

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Mapari et al. Performative Aspects of Mahesh Dattani’s Plays

performed on the stage and takes every care that it should Diction- when his silences are pregnant with meaning and
be easily transformed to the audience in visual form. The articulate volumes, Dattani’s every word is power packed.
journey from script to proscenium happens smoothly The diction is enriched with devices like code mixing and
because he is aware of the fact that, code switching. The language does not appear to be a
‘Actors are some of the most driven, courageous burden in the mouth of the actor nor does it appears out of
people on the face of the earth. They deal with more day- place for the Indian audience. His scripts are very short.
to-day rejection in one year than most people do in a The length of the dramas is moderate, which is the demand
lifetime. Every day, actors face the financial challenge of of the changing times. When asked,
living a freelance lifestyle, the disrespect of people who ‘Your dramas are comparatively short, (in script,) is there
think they should get real jobs, and their own fear that any special reason behind this?
they'll never work again. Every day, they have to ignore M.D.- No. It is the need of the day. Nobody in the theatre
the possibility that the vision they have dedicated their nowadays has an attention span beyond two hours.’ 5
lives to is a pipe dream. With every role, they stretch Content- Each of Dattani’s play has certain issue to deal
themselves, emotionally and physically, risking criticism with, certain message to convey and neatly crafted
and judgment. With every passing year, many of them described result to be achieved at the end of the play. He
watch as the other people their age achieve the predictable presents a slice of life on stage. His content is the ‘cross
milestones of normal life - the car, the family, the house, sectional’ study of the society around us, our cultural
the nest egg. Why? Because actors are willing to give their memories and collective consciousness regarding some
entire lives to a moment - to that line, that laugh, that issues and human psyche. ‘Final Solutions’ inhabits the
gesture, or that interpretation that will stir the audience's communally charged world of the Indian subcontinent and
soul. Actors are beings who have tasted life's nectar in that brings out the nuances of the communal intransigence and
crystal moment when they poured out their creative spirit proclivities, missing in what Suzanne Langer calls the
and touched another's heart. In that instant, they were as ‘virtual past’ of narrative literature.’6
close to magic, God, and perfection as anyone could ever
Symolism- Symbolism begins with the title of the play
be. And in their own hearts, they know that to dedicate
itself, viz, ‘Where There is a Will’, ‘Seven Steps Around
oneself to that moment is worth a thousand lifetimes.’4
the Fire’, ‘Final Solutions’, etc. In ‘Bravely Fought the
Speech Directions and Dialogues - The characters are Queen’ the intriguing symbol Is that of Kanhaiya, who is
easily differentiated by the register of English they speak, both present and absent at the back of the kitchen door. He,
sometimes there are accent or language power play that with his typical name stands for Radha’s eternal lover in
come into play. One of his most appealing plays, in the Indian Mythology. Lalitha cannot digest all this
‘Clearing the Rubble’, main action of the play is largely fictional character of Kanhaiya and related things, but
located in a Gujarat village, in Kutch region. The audience and Dolly as well as Alka know that it is an
protagonists represented are from that cadre of the society escape for them to shun down their frustration, suffering
who do not have access even to the basic human essentials and trauma.
most of the time, let alone an English language education,
In “Final Solutions” the use of black color in chorus is
yet the action and the speech is always convincing, never
very suggestive. As no other color could be painted over
harsh or incongruous. The characters’ psyche is revealed
black hence it represents impartiality and justice. There are
through their dialogues which offer a plane for the
five Hindu and five Muslim masks which again stand for
dramatist to display his wit and wisdom as well as his
equality and the people in mob also become the chorus by
humour. The writing of Mahesh Dattani is reflexive of the,
wearing any one of the two masks. This technique of
‘here and now’. This is so very well expressed through his
using masks has helped the dramatist a lot. As mob never
choice of language, a vibrant, colourful and remarkably
has any identity for individual it is considered as a ‘mob’
recognizable Indian variety of English. One of many
only following any particular thing. The different masks
striking aspects about the characters of Dattani that they
speak differently but chorus – 5 speaks sense, who
use a variety of English which is neither stilted, nor
represent intellectual, scientific and rationale group of
outdated. His expression seems to be the most ‘natural.’
people. But no one pays much attention to them and their
Today’s suburban and urban speakers use exactly same
views. A look at their conversation gives us the thought
language. The language in his plays contains the natural
processes and inner psyche of the members,
cadences of the bilingual speaker- whether the character is
Gujarati, Kannadiga or ‘de-regionalized’ urban, the speech Hindu Chorus
patterns and vocabulary are both expressive as well as ‘CHORUS 1: The procession has passed through these
indigenous. lanes every year, for forty years;

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CHORUS2, How dare they? Pen’ he himself directs the first performance of his plays
CHORUS1,2, 3: for forty years our chariot has moved and edits the script if necessary, this gives him first hand
through their mohallas. experience and that’s the reason of his scrupulous stage
directions. Like Shaw he gives full descriptions of rooms,
CHORUS4, 5: Why did they? Why did they today?
colours, lights, persons, vital properties on the sets, etc.
CHORUS2,3: they broke our rath. They broke our chariot
His plays are meant to be performed. He uses multilevel
and felled our Gods.
sets to introduce with many rooms in the house and the
CHORUS1,2,3: This is our land. How dare they??
whole ambience is available to the audience and they can
CHORUS 1: it is in their blood.”
see things simultaneously happening at the same time. For
Muslim Chorus-
his theatre is an art with specific function. For the
‘CHORUS 1: Their chariot fell in our street!
spectators his plays are like a treat and a fulfilling
CHORUS 2: Their God now prostrates before us!
experience. The use of proscenium is his mastery. The
CHORUS 3: So they blame it on us!
geographical locales collapse in his plays and the interior
CHORUS 1: Was the chariot built by us!
and exterior merges. “In short, his settings are in pieces
CHORUS 2,3 : Blame the builders of those fancy thrones.’
like the families who inhabit them.”10
‘CHORUS 2 : That we broke their chariot today.
CHORUS 1 : That we will bomb their streets tomorrow. ‘Seven Steps Around the Fire’ was written as a radio play,
CHORUS ALL : Why would we? Why? Why? Why? the stage directions are very precise. As it was meant for
would we? listening Dattani highlighted the use of sound.
CHORUS 5: (emotionally) Why would we ?’7 In ‘Muggy Night in Mumbai’ Dattani uses dark expansive
areas to show the innermost thoughts of the characters.
The mob is used very skillfully. The mob says,
The stage where, Kamlesh’ flat is shown it is divided into
‘The demons of communal hatred are not out on the
three acting spaces- the living room, beautifully decorated
street…. they are lurking inside ourselves.’ Each member
in ethnic fashion; the bedroom hidden behind a gauze wall
of the mob is an individual yet they meld into one seething
somewhat mysterious and secret; and a completely non
whole as soon as politicians play on their fears and
realistic set comprising three levels, dark and open. At the
anxieties. 8
backdrop of this setting the Mumbai skyline can be seen.
You very symbolically entitle your plays, ‘Seven Steps The partial view of the ‘Queen’s Necklace’ suggests that
Aournd the Fire’ and the burning of the eunuch Kamla, the flat is located in the upper market area of Marine
and the suicide of Sabbu, ‘Bravely Fought the Queen’ Drive.
contrasts with the feeble place of women in urban and ‘Do the Needful’ is yet another play where Dattani uses
educated families, ‘Seven Steps Around the Fire’, shows yet another experimental device is that is double dialogue.
the hypocrisy and impure intentions behind the marriage, Through this technique the first reaction of the character is
‘Where there is a Will’, where the pun is intended, given as a ‘thought’; and then what the character actually
‘Thirty Days in September’, to show the temporary love says at the point is called as “speech”
relations in the protagonists’ life. ‘Brief Candle’, etc. ‘Bravely fought the Queen’- In this drama Dattani has used
What would you like to say about this? Do you feel that the very apt, subtle and suggestive symbols. If all the other
title is also one of the strong symbols? plays of Dattani are considered at one hand and this
M.D.- Yes absolutely. The title should have meaning particular play, ‘Bravely Fought the Queen’ is considered,
beyond its words, this play will prove more impressive in the use of symbols.
Overall it’s a symbolic play. It’s full of symbols and the
probably highlighting the dramatic irony. 9
provision for their multiple interpretations too. The most
striking of all of them is of the symbol of ‘Bonsai’.
Stage- Stage loses its traditional identity and achieves a Lalitha’s passion for growing Bonsai is symbolically
new dimension at the hands of Dattani. He has used it as a reflective of her own mindset. The stunted growth and the
powerful weapon through his dramas. His experiments ostentatious but useless fruits are the mindsets of many
with the stage and stage settings have given his dramas the characters in the drama and around us in real life too! The
rare quality of Performability and theatricality. The exact quaint and attractive bonsai uncovers ugly and grotesque
lacuna of the English theatre has found its answer in realities. The bonsai Sridhar keeps on the table at the office
Dattani’s dramas, and one of the reasons is his stage is a symbol of the distorted relationships both the brother
settings. Dattani like Shaw and Arthur Milller gives very have with their wives. Baa’s paralytic condition is
meticulous stage directions in the script. It helps the reader highlighted by her wheelchair, though it is never used
to visualize the actual drama. At his theatre group ‘Play throughout the play. Jiten is carrying the emotional

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Mapari et al. Performative Aspects of Mahesh Dattani’s Plays

baggage of the guilt in his mind, and the beggar woman Split stage: Over the years Dattani has used very skillfully
represents it. The facemask that Dolly has applied and is the space of the proscenium. To show various rooms in a
careful that it should not crack by laughing but besides the house, or office he uses multilayered stage sets that are
precaution it cracks, this cracking is also symbolic. Earlier accompanied by different lighting to highlight and
it represents the normal life of a housewife, but it cracks enlighten a particular area at a particular time.
open and gives the audience a peep into the dark secrets of Detailed work on prop and costumes adds a lot to
her life. This drama is the drama of falsehood and the performance. In ‘Where There is a Will’, different
hypocrisy. Through the stage settings the living room is rooms in the play are shown thus where simultaneity is
the made up face of the family, where every care is taken made sure and audience can watch all the characters at the
that it should not reveal to the audience. Reality is shown same time and observe their actions and reactions. With
in the inner chamber of the house- and the center is the this technique the proscenium is used to its fullest and it
kitchen which is a place for real as well as fictional gives a feeling of watching a T.V. screen with different
happenings, and Baa’s bedroom which is upstairs indicates windows. To show flashbacks too he has used a particular
detachment from reality. area where the characters talk to themselves and indulge in
In ‘Tara’ Dattani has used a multilevel set. The lowest the past memories.
level occupies a major portion of the stage. It is used only Music-on and off stage-
when the scenes from the past and memory are to be D.M. The effective use of music in the play ‘Tara’ and
staged. The stage settings here are very bleak and dark. ‘Bravely Fought the Queen’ is one of the techniques you
The next level presents the bed sitter of the older Chandan. have used very excellently, how this idea struck to you and
He takes every precaution so as to make the stage look real how you executed it so superbly?
and the audience should feel that they are actually M.D.- I am fond of music. I feel theatre is more akin to
participating in the dialogue and identify with the music than it is to literature. Music and drama are both
characters. About this he opines, temporal mediums, relying on time for their execution 13
D.M. ‘The experiment with ‘Proscenium’, sets you apart In ‘Seven Steps Around the Fire’ audio effects are
from other dramatists, and adds a lot of theatricality and achieved with extensive use of sounds. Clang of gates,
‘Performability’ to your plays. Do you feel that our banging of metal plates, whirring of fan, etc. are used. In
audience too should change their perspectives of going to ‘Bravely Fought the Queen’, the Thumris of Naina Devi
the theater? that are being played on the stereo system symbolize the
M.D.- Audiences want to be challenged and are more than urge for sincere and devoted, true love from the partner, it
happy to look at different ways of exploring theatrical also evokes the need for fulfillment and acceptance which
space.’11 is felt by all the major characters in the play. By playing
Stage craft and stage directions- the thumris of Naina Devi Dattani echoes the example of
heroism of the singer. Naina Devi fought against the
He never appears to be didactic of straightforward rather
oppressive patriarchal order of the day due to which she
he allows the drama and the situations created there to take
was called as a ‘tawaif’ or whore. The legendry woman
their own time and hit the right place at the right time.
was later on entitled as the queen.
In ‘Seven Stenps Around the Fire’ these are the stage
directions, In ‘Final Solutions’ ‘a stone hit our gramophone table,
breaking it. Krishna chose to destroy what I love most. My
“Sanskrit mantras fade in, the ones chanted during a
entire collection of records is broken lying about like
Hindu wedding. Fire. The sound of the fire grows louder,
pieces of glass. Shamshad Begum, Noor Jehan, Suraiya.
drowning the mantras. A scream. The falmes engulf the
The songs of the love that I had learnt to sing with. Those
scream.
beautiful voices cracked.’14
Interior- the office of the superintendent of police. With dexterous use of chorus he has communicated the
Whirring of fan (stays throughout the scene.) Rustle of frenzied emotions related to communities and religion in
paper. Footsteps approaching.” 12 Indian society.

These meticulous and subtle notes is the directors to direct The melodies of Beethoven and Brahms are very
a particular scene. suggestive which alerts the audience about the erasure of
memories. Because Beethoven was deaf when he created
Dattani breaks up the theatrical/ dramaturgic space into
his major musical compositions. He was a great influence
interrelated, sacred zones which, in turn , help to build an
on Brahms too. This has the similarity in the influence of
integrated and collective theatrical experience.
Tara upon Chandan. Tara identifies with Beethoven, As G.

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J. V. Prasad Observes, ‘she says that Beethoven must have trauma of cancer patients there is a monologue of one of
been a passionate man but when told that she has been the characters about her life before and after breast
listening to Brahms’ first concerto, she wants the record cancer.The waltz that was done during the monologue was
turned off. However, soon she wants it played real loud, like a cherry on top of the cake. The soliloquies in ‘Where
because, ‘Beethoven was never as good as this.’14(335), There is a Will’ by HasmukhMehata are humorous and
and asters her desire to lead a life which is not constricted witty in nature.
by others’ perception of her disability. ‘…. Music and Voice Over- ‘Seven Steps Around the Fire’ has a voice
Beethoven should alert us to the other thematic that runs over device used.
through the play- not just how we treat the disabled, but ‘UMA- Case 7.a brief note on the popular myths on the
how we view them and olurselves- our ideas of beauty and origin of the hijras will be in order, before looking at the
the personal aesthetic.’15 class-gender-based power implications. The term hijra, is
In this play further Dan’s ultimate statement to Dr. of course, of Urdu origin, a combination of Hindi Persian
Thakkar is about to quit his memory. ‘Get out of my mind, and Arabic, literally meaning, ‘ neither male nor
you horrible creature! You are ugly and I Don’t want ugly female.’...not for them the the seven rounds witnessed by
people in my memories.’16 Though Thakkar is normal but the fire god, eternally binding man and woman in
appears to be ugly to Dan because he caused the separation matrimony, or the blessings of May you be the mother of
of this brother-sister duo. hundred sons.’18
Flashback (theatrical art) –Flashback is used as a Language and length- The terseness of the spoken word
necessity of the theme in Tara. Dan who is Chandan is and the silences loaded with volumes of meanings is the
tossing to and fro between past and present. All his stylistic feature of Dattani. His unspoken silences are
memories are haunted by the injustice done to Tara in the overflowing with profound meanings and undertones. In
past. Dattani’s other plays like ‘Thirty Days in the play, ‘Seven Steps Around the Fire’ his use of the
September’ also have Past Memories in its backdrop. medium of language is very skillful. Hizrasare treated very
Where the protagonist is a victim of child abuse. Every brutally by the society and it is very clear from the
time on the verge of forming a new relation with any male following dialogue,
she is uncomfortable, and cannot hold on that relation for ‘Munswamy: you may see the hizra now if you wish.
more than thirty days. The past memories of abuse make Madam.
her restless and develop self hatred as well as hatred Uma: Will she talk to me?
towards all the male gender. In the play ‘Bravely Fought Munswamy : (Chuckling). She! Of course it will talk to
the Queen’ Baa remembers her past where she was bitterly you. we will beat it up if it does not.’ 19
beaten in the house by her husband. She speaks in hollow,
Regarding his dramatic technique and thematic aspects of
‘You hit me? I only speak the truth and you hit the play ‘On a Muggy Night in Mumbai’ John Mcrae
me? Go on. Hit me again. The children should see what a observes, ‘each act builds to a climax of revelations and
demon you are. Aah! Jitu! Nitin! Are you watching? See self discoveries. By the end of the play, Ed is seen as the
your father! (Jerks her face as if she’s been slapped) No! most pathetic and self deluding by all characters, but
No! Not on the face! What will the neighbours say? Not Kamlesh too deceives himself and exploits others (the
on the face. I beg you! hit me but not on …..aaaaah! Guard for example). The photo of Ed and Kamlesh
(Covers her face weakly as her scream turns silent and the together becomes emblematic (again a typical Dattani
light on her face fades out).’17 touch) of all that was good in their love, but which has
This indicates how baa is still disturbed by those now turned, or been turned against that love.’ 20
horrifying memories from her past. The most striking part Characterization- Though mainly her character is
with Dattani’s dramas is that ‘memories’ in his plays are revealed through narration is in not in need if any action.
so well crafted and organic.
Many of the characters are multidimensional, and it on
Recurring imagery- Suggestive symbols continue to
through the situation that other aspects of their characters
appear and reappear on the stage. In ‘30 Days in
are brought to light. For instance the characters of Nitin,
Sepetemebr’ the image of Krishna appears many times and
Jiten and Prafull, Maximum of the major characters of
is referred to quite often. In ‘Bravely Fought the Queen’
Dattani are struggling to be normal, to lead a normal life
the image of a stunted Bonsai keeps the audience attached
but the abnormality of life is so harsh upon them that they
to the image.
cannot afford the normalcy. His characters are fully
Monologues- his monologues are a challenge for the
rounded men and women. They are often questioning their
performer. In ‘Brief Candle’ the play that deals with the
identity and feel isolated in some way.

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Dramatic irony- Irony is used in the play ‘Tara’, where direct the very firstStaging of his plays. This conveys his
Bharati, mother of Tara has already been shown of ideas perfectly to the world.
thrusting too much love on Tara and her health. Bharati ‘On A Muggy Night in Mumbai, ‘The stage is divided
always tries to make Tara strong and that she should be into three acting areas. The first on a small flat, beautifully
able to face the world boldly. Tara too is very much done up in ethnic chic fashion. A huge poster of Meena
attached to her mother and asserts that she is strong Kumari in Pakeezah offers relief to a stark wall. The
because of her mother. The irony is that she doesn’t know windows overlook the Mumbai skyline and act literally as
how much she owes her mother or how much her mother a window to the city with its glittering lights. The flat is
owes her. Tara’s statement to Roopa that Chandan is too high up for the noise but the partial view of the
writing a story about her –‘Strong. Healthy. Beautiful’21– ‘Queen’s Necklace’ suggest that the flat is located in the
is ironic in more than one way: while Chandan isn’t strong upmarket area of Marine Drive, though not quite Pali
or healthy. Dan comes in right after his saying that Tara Hill…’25
‘Never got a fair deal. Not even from Nature. Neither of us
The second area, a completely non realistic set comprising
did.”22
three levels, is black and expensive. Characters in this area
Metaphor- Tara is a play which has the most striking
are immediately suspended in a ‘Shoonya’ where they are
metaphors of all. Dattani uses the metaphor of Siamese
forced to confront their inner thoughts.
twins in order to focus the male and female self. This
Below this is Kamlesh’s bedroom. The bedroom is
suggest that in the words of Dattani, ‘It (the cultural
realistic, but hidden behind a gauze wall, giving it some
difference between man and woman ) is an artificial
mystery and secrecy.
difference… biologically there are polarities between the
Lightings- Lightings in the plays creates the right
genders which is meant to seek the union of another, but
ambience and increases the visual impact many folds.
the cultural polarities are artificial, and actually the
boundaries hinder the natural unions of male and female D. M. Do you consciously plan the techniques or they
whether its body-to-body or within oneself.’23 ‘naturally fall’ in the course of your writing?
Humour- Dattani uses very gentle and mild humour. He M.D.-I allow my natural sense of technique to take over.
believes in laughing ‘with’ the characters rather than Good technique is one that is imbibed and at the same time
laughing ‘at’ the characters. At times he hits very hard and allows you to be creative.26
appears sarcastic, but a note of light humour runs through
Thus a very sensitive medium of drama in the hands of an
all his dramas.
immensely creative person reaches to newer heights and
Black Comedy- is a tricky genre and Dattani knew that the performative aspects are being chiseled to craft his own
before attempting it in ‘The Big Fat City’, ‘We are not too niche and a signature style of his own. In the years to come
familiar with this concept in theatre. Situations that have we will witness many such enthralling performances by
tragic consequences in our lives are usually approached the dramatist.
with an appropriate degree of sobriety or decorum. But
sometimes we say, feel or do the weirdest things. Things
we would not approve of if we were to follow proper REFERENCES
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the settings. This is one of the reasons why he chooses to

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[7] Collected Plays of Mahesh Dattani, (2000) Penguin Books,

Final Solutions, 168
[8] Collected Plays of Mahesh Dattani, (2000) Penguin Books,
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[9] Mapari Dimple 2012. E mail interview sent on Monday, 10th
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[10] Collected Plays of Mahesh Dattani, (2000) Penguin Books,
99
[11] Mapari Dimple 2012. E mail interview sent on Monday, 10th
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[12] Collected Plays of Mahesh Dattani, (2000) Penguin Books,7
[13] Mapari Dimple 2012. E mail interview sent on Monday, 10th
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[14] Collected Plays of Mahesh Dattani, Penguin Books, New
Delhi, 2000, 167
[15] Angelie Multani, Mahesh Dattani’s plays: Critical
Perspectives, Pencraft International 2007, 101, 141, ISBN
8185753849
[16] Collected Plays of Mahesh Dattani, (2000) Penguin Books,
379
[17] Collected Plays of Mahesh Dattani, (2000) Penguin Books,
308
[18] Collected Plays of Mahesh Dattani, (2000) Penguin Books,
New Delhi, 2000, 11, ISBN- 0140293256
[19] Collected Plays of Mahesh Dattani, (2000) Penguin Books,
New Delhi, 2000, 11, ISBN- 0140293256
[20] Collected Plays of Mahesh Dattani, A Note on the Play, ‘On
A Muggy Night in Mumbai’ Penguin Books, New Delhi,
2000, 44, ISBN- 0140293256.
[21] Collected Plays of Mahesh Dattani, (2000) Penguin Books,
New Delhi, 2000, 329, ISBN- 0140293256
[22] Collected Plays of Mahesh Dattani, Penguin Books, New
Delhi, 2000, A Note on the Play, ‘On A Muggy Night in
Mumbai’, P No 330, ISBN- 0140293256,
[23] Galaxy: International Multidisciplinary Research Journal
ISSN 2278 – 9529, Discrimination of Class and Gender:
Mahesh Dattani’s Tara by Vivekanand Jha
[24] Collected Plays of Mahesh Dattani, Penguin Books, New
Delhi, 2000, 234
[25] Collected Plays of Mahesh Dattani, Penguin Books, New
Delhi, 2000,13, ISBN- 0140293256.
[26] Mapari Dimple 2012. E mail interview sent on Monday, 10th
September 2012

IJELS-2022, 7(4), (ISSN: 2456-7620)

https://dx.doi.org/10.22161/ijels.74.33 237