Beneath The Mask: Unmasking the mask(s) in

Mahesh Dattani‟s Bravely Fought the Queen

*
Qazi Arka Rahman
**
Faria Alam

Abstract
„Mask‟, as an object/cultural element/symbol, has got a history of existence that is rich
both in its length and versatility. Dattani‟s Bravely Fought the Queen takes into account
the „common‟ cultural element and uses that to show various dimensions of human nature
and relationships through performativity and performances of the characters. This paper
takes into account the usage of mud mask, alcohol, and Bonsai among the central
characters as they dance around each other in their masked and unmasked state. It also
tries to find out how Dattani uses the notion of „space‟, both in his play and on stage, to
portray the (crisis of) identity of the characters of this play. By probing into different
states of the characters‟ relationships with each other, this paper tries to explore the idea
that the characters of this play are so engrossed in the act of carrying on their façade that
instead of themselves making their masks, it is more likely that their masks have been
making them.

Introduction
Mahesh Dattani is a man of multifaceted (and „successful‟) identities. He
is a Gujrati who grew up in Bangalore, writes in English, and carries the
identities of a playwright, director, film-maker, and actor. Dattani is also
the person who „simply rejects the concept of choice…For him, his
writing is reflective of the „here and now‟, of modern contemporary
urban India…‟1. A recipient of Sahitya Akademi award, Dattani sees
himself as a part of the urban Indian society and states that his plays are
„geared to cater‟2to the urban and middle class audience of the society of
which he thinks he is a part of. In that segment of the society, the crisis is
not necessarily of basic needs; the characters are not suffering from lack
of food or shelter, but they are suffering alright. The genius of Dattani
lies in the fact that he manages to bring that particular suffering in his
works while maintaining a sort of „neutral‟ ground. It is to be noted here
that the word, „neutral‟, is used simply to state an observation. Dattani

*
Lecturer, Department of English, Jagannath University, Dhaka.
**
Lecturer, Department of English, Southeast University, Dhaka.
1. Angelie Multanis introduction for The Plays of Mahesh Dattani
2. Anindita Chatterjee, see works cited
 Jagannath University Journal of Arts 141

himself said, in an interview with Anita Nair, “Theatre to me is a

reflection of what you observe. To do anything more would be to
become didactic and then it ceases to be theatre. Theatre is a collective
experience and the audience have to finish in their own heads what the
playwright began.” (Das, 245) This observation made by Dattani helps us
to understand why he prefers his plays to be performed. Despite his
preference for performance, Dattani‟s plays do not fail to deliver the
charm when they are being read. Multani observes, “One of the most
striking aspects of Dattani‟s characters is that they use an English which
is neither stilted, nor archaic, nor uncomfortably directed only towards a
really elite and upperclass audience” (12). This is probably one of the
reasons why Dattani is one of the most commercially successful Indian
English playwrights. Dattani‟s Bravely Fought the Queen follows all the
qualities that are evident in his plays. The play posits layers of meaning
while refraining itself from pushing one particular view or solution. So, it
can be said that the play itself has layers of masks.
Bravely Fought the Queen revolves around three trios – Jiten-Dolly,
Nitin-Alka, and Shridhar-Lata. Hovering around them, without
noticeable stage presence, are Baa (the mother of Trivedi brothers),
Praful (brother of Dolly and Alka, and lover of Nitin), Kanhaiya (a
young cook who is the subject of Dolly and Alka‟s fantasies), a beggar
woman, and an auto driver. The play dwells with the conflict that exists
between these characters and within the characters themselves. Each
member of the trio has his/her own mask. By understanding the nature of
the mask, we can realize the crises that exist in the play - the crisis
between the role given and the role desired; the crisis between family
members; the crisis between employer and employee; and the crisis of
the self.
The Mask
“Afraid I would crack my mask” (p.234).
Masks in general are interesting objects. Literally speaking, they are
objects that cover the face (or parts of face) for protection, disguise,
entertainment, ritual practices, and variety of other reasons. Also, masks
are made of various materials or substances, depending on the use of
these. According to the Online Etymology Dictionary, the word „mask‟ is
thought to originate during the 1530s from the Middle French masque
“covering to hide or guard the face”, from Italian maschera, and from
Latin masca “mask, specter, nightmare” (N.pag). Metaphorically
speaking, a person said to be wearing a mask (even if s/he is not wearing
an actual one) can imply that s/he is hiding his/her true nature.
142 Beneath The Mask: Unmasking the mask(s) in Mahesh Dattani‟s Bravely Fought the Queen

Considering Shakespeare‟s often quoted lines, from As You Like It, in

which he says that all the world is a stage and that men and women are
merely players, it will not be entirely inaccurate to say that we go
through our lives wearing different masks that help us to fit into the
specific role that we chose to play (or, that is forced upon us) at a given
time.
On that particular note, Dattani‟s play can be said to be an
embodiment of those lines from As You Like It. It is a play written to be
performed on the stage where the characters carry on to wear masks,
both literally and metaphorically. Interestingly, the mask which we
encounter at the beginning of the play is one that is put on the face for
beautification. It is known also as a facial mask. In addition to that, the
very first idea that is associated with that mask (as uttered by Dolly) is
that it might „crack‟. Two things are at play here; one, an artificial
product that has been used in order to enhance beauty, which suggests
that the natural state of things is not satisfactory or desirable; two, the
character is worried that the mask might crack and, thus, allow the world
to see the undesirable (and, which is natural) state of things. Even if we
consider that beauty masks are sometimes put on to accentuate natural
skin tone or just to freshen the face, the questions remains that had it not
been put would the face be undesirable or not. Thus, at the very
beginning the mask is playing a role that is multifaceted. On the surface
level, we see that Dolly is using it for beautification and that she is living
in a state of worry that she might not get her desired effect out of it if the
mask cracks. And, on a different layer we can understand that the
characters are not entirely what they seem; they might be pretending to
be someone different by wearing masks of some other persona to hide
the (probably undesirable) true condition of themselves and that there is
a chance of that masked persona cracking.
The layers of meaning of this facial musk do not just stop there.
Apart from being a symbolic clue about the play‟s nature, the mud mask
also delivers (or acts) as a „hyper-realistic‟ image. As Michael Walling
says,
The mud mask is an empty white surface, which suggests a blankness
in the character. In performance, the effect is very disconcerting. This
is particularly the case, given that the mud mask is white, and the
performer‟s skin is darker in colour…it is into an “ambience of
psychodrama‟ that Dattani throws his black actors and their white (or
coloured, or sequined) masks. Moreover, the mask/make-up mask is a
basic symbol of performance, particularly in the traditional Indian
dance theatre, which Dattani loves. (68)
 Jagannath University Journal of Arts 143

Walling also mentions that a black performer in white mask „gives a

lateral and visual realization‟ to the Black Skin, White Mask, written by
Frantz Fanon. It is true that a white mask has the ability to evoke an
ethereal feeling. But, it is also true that the cracked version of the mask
carried by dark skinned actors has the capacity to make that ethereal
feeling (quite) uncomfortable. Keeping in mind that Dattani believes that
the audience must finish what the playwright has started, it might be safe
to say that this possibility of evoking discomfort is intentional. The mask
alludes to not only how the characters are disguising their true nature, but
its functionality remains for the performance also. It could be a token of
appreciation for Dattani‟s love for Indian dance theatre; or, it could be
Dattani‟s way of making the audience slightly uncomfortable, and, thus,
keeping them „alert‟. One thing for sure is that the introduction of the
mud mask at the very beginning works as a very potent device to ensure
(or warn) that the play has got layers of meaning.
Mask by Alcohol
In the play, Dattani uses alcohol in a way which makes it difficult for the
audience to pass any judgment. Usually, usage of alcohol makes one
unreliable since a drunk character/narrator/actor is not someone who is
believed to provide a logical explanation. In Dattani‟s play, however,
alcohol can be seen as an instrument which serves twofold purposes.
Alka uses alcohol to „be free‟; she drinks it and then speaks „truths‟,
which she probably wouldn‟t have said during her sober state. Alka does
this to cope with her marriage and also her existence; she knows that
speaking truth about her marriage and life will bring chaos, but not
speaking about them will probably make her life unbearable. She
chooses to speak about those „uncomfortable‟ subjects during the time
when others think that Alka is under the influence of alcohol. It is a
situation in which alcohol is more likely to be blamed for the things that
Alka said instead of she (Alka) herself (253).
On the other hand, alcohol can also be responsible for Jiten‟s
abrasive behavior. In the lay, Jiten can rarely be seen without holding
anything to drink. Though it is evident that Jiten is somewhat violent by
nature and hints (or evidence) of him being beaten up by his father
during his childhood are there in the play, one might argue that Jiten‟s
temper and tendency to commit violence has worsened through his
continuous consumption of alcohol. Thus, alcohol acts as an instrument
that can be considered to be partially responsible for Jiten‟s
aggressiveness. This can be considered as another way of Dattani‟s act of
staying neutral, though we see the that Jiten was the subject of violence
144 Beneath The Mask: Unmasking the mask(s) in Mahesh Dattani‟s Bravely Fought the Queen

from his father during his childhood, which probably is instrumental in

him being what he is in his adulthood. We can never say that that is the
only reason because of the presence of alcohol. Alcohol is there to show
that not everything can be categorized into simply black and white, just
like we cannot simply blame Jiten‟s childhood for his present condition
(309).
Alcohol is also essential to see the fallacy of the society in which
Dattani‟s characters live. The women „are allowed‟ to attend parties with
their husbands. But, drinking is still considered to be bad for women.
Dolly reprimands Alka about her habit of drinking „often‟. Sridhar does
not mind Lalitha drinking as long as he is around her during that time.
Despite the fact that we hardly ever see Jiten without a drink, throughout
the play we do not see him get reprimanded for that. The liquor is, thus,
seen as a thing to be consumed by men only. Women can drink, but, it is
preferable that they do so under the supervision of men.
Bonsai as Mask
Women being associated with trees is not a very uncommon thing.
Usually, trees are used as allusion to refer to women, thus suggesting that
women have the same kind of nurturing and protective qualities like
those which we identify with the image of trees. Dattani, too, uses trees
to depict the condition of women in his play. The difference in his
approach is that instead of using „regular‟ trees, Dattani opts for Bonsai.
Regarding Bonsai in Bravely Fought the Queen, Anindita Chatterjee
writes –
Implementing the techniques of pruning, root reduction, grafting and
defoliation, small trees are grown that mimic the shape and style of
full grown trees, In the course of the play the symbol of the miniscule
plant or bonsai goes on to assume a profound significance with
respect to the lives of the characters depicted in the play. The art of
wiring and trimming of the plants symbolically alludes to the process
of control and domination of women by the laws and tenets of
patriarchy. The stunted growth thus becomes suggestive of the
restrictive life of the women in the play as well the women of the
Indian society in general who are forced to fit into the pre-ordained
identities of the mother, the daughter, and the wife throughout their
life. (2)

The „restrictive life‟ which Chatterjee mentions regarding women is

quite evident in the play. All the women in this play are restricted in one
way or the other. Baa is restricted in her bed; and, we see through the
recollections and flashbacks that her married life was probably restricted
of happiness because of her abusive husband. Dolly, it seems, showcases
 Jagannath University Journal of Arts 145

a situation that can be said to be a newer version of Baa‟s conjugal life;

she has a relationship with Jiten which is almost devoid of
communication and mutual respect. Moreover, Jiten does not refrain
himself from hitting Dolly; in fact, Jiten‟s act of hitting Dolly during her
pregnancy is the reason behind their daughter Daksha‟s condition. Alka
is restricted in her life by a husband who prefers men over women as
lovers. Lalitha is the luckiest of the lot; but, that can be said only if we
are speaking in terms of comparison. Lalitha is childless; it is she who
painstakingly makes the bonsais. She possess a sense of diligence which
Alka lacks as she comments that the process of making Bonsai sounds
very tedious. The dwarfish figure of Bonsai is relevant to almost all the
characters of the play. Asha Kuthari Chaudhuri writes, “The stunted
growth, the bizzare shape, the grotesque reality of the bonsai becomes
resonant in the existence of all the characters in the play” (54).
The existence of the Bonsai in this play works as a referent. Jiten is
critical about the Bonsai‟s grotesqueness; but, despite that Sridhar is still
fond of it. Lalitha gives her time to create the Bonsai. It is an act which
Alka thinks to be tiresome and timeconsuming. The bonsai clearly
resembles Daksha, Dolly, and Jiten‟s daughter; it is also a gift (that
Lalitha gives to Dolly) which Dolly finds unusual. The Bonsai, thus, acts
to give an insight into the masks which these characters are wearing.
Jiten and Dolly‟s views regarding bonsais show that despite their best
efforts, none of them are comfortable about their daughter and that she is
„unusual‟ to them. The bonsai also gives a sense of optimism. Though
the bonsais are dwarfish in nature, they can grow fruits and look mature.
Dattani is probably suggesting that in spite of all the restrictions, the
characters have the potential to be productive and be their own selves;
but, for that they need to let go to their masks and be their true selves.
Mask of ‘Space’: Presence/Absence
Dattani mentioned that he writes his plays to be performed; and,
according to the sense of performance the space utilized on the stage is
crucial. Aparna Singh notes that “In Bravely Fought the Queen, Dattani
uses onstage absence not in opposition to presence, but as an inevitable
pointer to it. The absence of characters from onstage action provides
stimulus for the events that occur.”
It is seen that Baa is presented throughout the play (while being
absent on the stage) by the sound of the bell. The ringing of the bell
continuously ruptures the presence of the three female characters and
gives us an idea of her imposing control in her daughter-in-laws‟ lives.
The absence of men allows women to talk uninhibitedly about men and
146 Beneath The Mask: Unmasking the mask(s) in Mahesh Dattani‟s Bravely Fought the Queen

vice versa. In Act Two, the conversation of men shows how brutally
patriarchal their way is. The patriarchal superiority complex is
particularly striking in Jiten, who makes no effort to hide his attitude and
utters –
“…Men. Men would want their women dressed up like that. And
they have the buying power. Yes! So there‟s no point in asking a
group of screwd-up women what they think of it” (276).

This sense of machismo ultimately becomes so overpowering even for

Jiten that he had to drive himself away to find out his own space. The
other characters, too, deal in their own ways to find out their own
coveted space. Dolly and Alka, both frustrated with their married lives,
engage themselves in fantasies about their young cook. Nitin looks for
his „rightful‟ in the powerful arms of another man. Moreover, both for
men and women in this play, it seems we get to know about them during
their absence than when they were present. Thus, the space itself can be
said to wear a mask. The act of physical occupying of the space is the
masked identity. The characters, while present on the stage, show us their
masks, which they want us to see. Only through the characters‟ absence,
we can get a glimpse of who they really are; and, that too from the
account about them provided by others. It can also be problematic
because the account of others might be biased. This shows that there in
order to understand a character there needs to be a balance between what
a character says about itself and what others say about that character.
Bravely Fought the Queen begins with a mud mask and gradually
progresses to venture down a path where the multifaceted identities of
masks emerge like layers within layers. Dattani depicts a place where the
characters‟ masks are integral part of them; and, an understanding of
them is incomplete without taking into consideration the masks they
wear. The question remains though that whether it is truly possible to
know all the masks one wears. This is probably the point which Dattani
wants his audience to contemplate about.
References
Primary Source
1. Bravely Fought the Queen. By Mahesh Dattani. Dir. Michael Walling. Pref. Border
Crossings, UK, 1996. Print.
Secondary Sources
2. Chatterjee, Anindita. “Presentation of the „Bonsai and dwarfed maturity‟ in Mahesh
Dattani‟s Bravely Fought the Queen”.Galaxy:International Multidisciplinary
Research Journal, Vol 1, (2012), Print.
 Jagannath University Journal of Arts 147

3. Das, Sanjukta. “Derozio to Dattani: Essays In Criticism”. Delhi World Publications,

(2009).Print.
4. Hossain, Mashrur Shahid. “„They can‟t see us at all‟ Queering Ontogenetic
Liminality through „Gayze‟”. Harvest: Jahangirnagar Studies in Language and
Literature, Vol 26, (2011). Print.
5. Hossain, Mashrur Shahid. “dancing like a man, fighting like a queen: querying
queering gendering”. Harvest: Jahangirnagar Studies in Language and Literature,
Vol 25, (2010). Print.
6. “Mask”. Online Etymology Dictionary, n.d. Web 01November 2015.
7. Multani, Angelie. Introduction. Ed. Mahesh Dattani’s Plays: Critical Perspectives.
New Delhi: Pencraft, (2007). Print.
8. Singh, Aparna. “Absence in Mahesh Dattani‟s Bravely Fought the Queen.” Muse
India (May-June 2013):n.pag. Web. 02 November 2015.