Incest in Indian Theatre: Sexual profligacy and Flippancy in Dattani’s Thirty Days in September.

Abstract

Mahesh Dattani’s Thirty Days in September brings to light the painful realities of incest, child sexual abuse, and the silence that often surrounds such experiences within Indian families. The play focuses on Mala, who is sexually abused by her maternal uncle, Vinay, and explores how this traumatic experience affects her emotional well-being, sexuality, and relationships with others. Through Mala’s painful memories and personal struggles, Dattani highlights the stigma associated with sexual abuse and the tendency of families to hide such incidents to protect their social reputation. Mala’s mother, Shanta, represents the consequences of denial and silence, as her failure to respond to her daughter’s suffering deepens Mala’s trauma. The revelation of Shanta’s own experience of sexual abuse further brings out the intergenerational nature of trauma. This paper examines how Dattani uses memory, silence, and characterisation to portray the lasting psychological effects of sexual abuse. It also explores Mala’s struggle to overcome her painful past, speak openly about her experiences, and free herself from the shame imposed upon her by society. Through Mala and Shanta, the play exposes the devastating consequences of familial neglect and the social attitudes that allow abuse to remain hidden. Ultimately, Thirty Days in September calls for greater awareness of child sexual abuse and emphasises the importance of breaking the silence, acknowledging survivors’ experiences, and creating a society in which victims can speak without fear, shame, or stigma.