Published Paper Details:

Offering an indepth examination of Mahesh Dattani's Tara (1990), this paper explores how the play depicts the intersections of gender and disability in modern India. At its centre are twins Tara and Chandan, surgically separated shortly after birth; their family's decision to attach the third leg to the boy underscores persistent patriarchal son preference. Grounding the analysis in intersectionality--an analytic framework devised by Black feminist scholars to study the interplay of identities such as gender, race, class and disability, the study contends that the play indicts patriarchal norms and ableist perceptions. Recognising this approach is crucial because early feminist discourse often neglected disability; through his portrayal of a disabled girl, Dattani demonstrates how interlocking oppressions intensify disadvantage. The narrative also draws on the social model of disability, revealing that impairment arises from social responses rather than inherent limitations. Tara endures dual discrimination as a woman and a disabled person, yet she declares her own worth and meets derision with sharp wit. Her resilience underscores the presence of agency in hostile environments. The discussion locates the play within the Indian socioeconomic milieu, where disability intersects with class and caste and underscores Dattani's critique of customs that privilege male, able bodies. By integrating insights from intersectional feminism and disability studies, the paper argues that Tara functions as more than a domestic tragedy; it becomes a plea for dismantling patriarchal and ableist structures and for affirming the humanity of disabled women. The drama continues to resonate with contemporary debates on gender equity, disability rights and social inclusion, demonstrating the capacity of theatre to stimulate reflection and inspire change.