Sahitya as Kinesis

Abstract

Mahasweta Devi (1926–2016) needs no introduction. One of the most prominent literary personalities of our times, who is not only known for her writings but also as an activist and a socio-political commentator. This chapter seeks to argue that, though she is primarily known as columnist, short story writer, and a novelist, and only a limited number plays by her are available in English translation, but the scarce stage and screen adaptations of her work show us an overlooked aspect of the immense potential of her writing. The attempt is to underscore her works’ reception through the prism of embodiment and experientiality in the stage adaptations of works like Draupadi, Rudali, and Mother of 1084 and screen adaptations of works like Mother of 1084, Rudali, and Urvashi and Johnny, to name a few. In the process, an analysis of select specimen, using a Performance Studies framework, seeks to demonstrate the dialogic performative potential that runs through her writings, not just the plays. It is, perhaps, in these mediums of expression – stage and screen – that Mahasweta Devi’s thoughtful rumination on struggles for justice from beyond the margins finds actualisation. Furthermore, her entire oeuvre of creative writing perhaps becomes much more accessible to the likes of the characters who regularly feature in her works through these palpable modes of expression, not just for cognitive ruminations, but also for inspiring concrete and tangible actions. Indeed, it is her narratives’ apparent theatricality and performativity that also transpire into a site to traverse the larger frameworks of activism, call for justice, and her vision for a better world.