Splitting the Self: Gendered Bodies and Canonical Bias in Mahesh Dattani’s Tara

Abstract

Mahesh Dattani’s Tara presents a compelling exploration of gendered violence through the literal and metaphorical splitting of conjoined twins, Tara and Chandan. This paper explores how the unequal surgical separation—favouring the male child—functions as a powerful metaphor for the patriarchal logic that shapes both familial decisions and societal values. Drawing on feminist body theory, particularly the works of Luce Irigaray and Judith Butler, the paper examines how Tara’s body becomes a site of gendered inscription, where female potential is systematically dismembered—physically, socially and symbolically. Furthermore, this paper attempts to situate the drama within broader cultural frameworks of gendered expectations and caste-class dynamics by engaging with Indian feminist intellectuals such as Nivedita Menon and Uma Chakravarti. In doing so, it contends that Tara not only critiques patriarchal norms but also challenges the exclusionary character of the Indian literary canon, which is historically dominated by male voices. As a contemporary English-language play, Tara demonstrates how revolutionary theatre may promote discursive spaces for marginalised gender narratives, calling for a revision of the methods used to establish the canon to incorporate voices that challenge and expose oppressive hierarchies.