Society and Representation: Legitimacy of Marriage and Subjugation of Women in Tripurari Sharma's Drama Bahu Vyas Sparsh J. Ph. D. Research Scholar, Centre for Comparative Literature and Translation Studies, School of Langauge, Literature and Culture Studies, Central University of Gujarat, Gandhinagar, Gujarat Email id: sparshvyas28@gmail.com Online published on 21 April, 2018. Abstract Woman as a voice in Indian theatre came into light post-independence. Women in India have been considered lesser being or marginalised. Theatre and plays in Indian writings in English have been influenced by the style and novelty of the European and British theatre which depicts a historic union of the themes, approach and stories of traditional Indian drama with the contemporary touch of the European drama. And within this traditional Indian drama, a woman plays a vital role. Indian patriarchy rests on the prejudice and male superiority, where men enjoys being superior to women. Their ideals for male are aggression, brainpower and authority, whereas for the female are obedience, ignorance and submissiveness. My paper attempts to look at issues and concerns related to women and why a woman is considered an embodiment of tolerance and silence analysing Tripurari Sharma's drama, Bahu. Why crying is considered synonymous to being a woman? This is an attempt to draw the so-called marginal voice from a corner and bring them to a centre stage where my focus will be mainly on the voice of women and how their voice is represented in theatre and public performance. Top Keywords Gender, Marginalised, Oppression, Resistance, Silence, Voice, Women. Top |