Theatre as Liberation: Exploring Female Identity and Voice in Indian Performance Art

Abstract

Indian theatre has historically functioned as a space for storytelling, ritual, and social commentary. However, the representation of women—both onstage and behind the scenes—has been limited by deep- rooted patriarchal and cultural restrictions. This research paper investigates how Indian women have transformed theatre into a platform of liberation and resistance. It explores the evolution of female participation in theatre, examining the socio-cultural and political contexts that initially excluded them and how they have gradually reclaimed the stage. Theatre in India was traditionally dominated by male performers and male-centric narratives, especially in classical forms like Sanskrit drama, Kathakali, and Yakshagana. Women were often reduced to symbolic or supporting characters, portrayed through archetypes like the obedient wife or tragic heroine. The colonial period further suppressed women’s visibility in public spaces, including the arts, due to imposed Victorian norms. The early 20th century saw some reformist engagement, but it wasn’t until the feminist movements of the 1970s that women began occupying central roles as playwrights, performers, and directors in Indian theatre. This paper focuses on how feminist theatre emerged as a potent form of sociopolitical expression in India. Using case studies such as Om Swaha by Mallika Sarabhai, Aurat by Jana Natya Manch, and reinterpretations by Usha Ganguly, it analyzes how these works addressed issues like domestic violence, caste oppression, reproductive rights, and gender identity. It also investigates how regional women-led theatre collectives in states like Telangana, Kerala, and Bihar have employed folk traditions and local languages to foster community engagement and political resistance. The study applies a theoretical framework combining feminist performance theory (Judith Butler, Sue-Ellen Case), postcolonial feminism (Chandra Talpade Mohanty, Gayatri Spivak), and intersectionality (Kimberlé Crenshaw). These perspectives help analyze the ways in which gender, caste, and class intersect in the creation and performance of feminist theatre. Ultimately, the paper argues that Indian theatre has become a transformative tool for women to assert identity, reclaim silenced histories, and challenge institutionalized oppression. Theatre enables them to act as both narrators and creators of their realities. It is not only a site of performance but of resistance and liberation.