This article seeks to understand Indian theatre’s take on Dalit politics of our time through a critical reading of two post-independence plays—Datta Bhagat’s Routes and Escape Routes and Vijay Tendulkar’s Kanyadaan. Politically, ‘Dalit’ becomes important only after 1947 in post-independence and post-colonial India or more specifically from the 1970s. In the post-Ambedkar phase of Dalit re/configuration, they begin to self-assert through politics, art, and literature, most effectively and convincingly, only with the rise of Dalit Panthers and in the aftermath of the implementation of Mandal Commission’s recommendation for Other Backward Classes (OBC) reservation. The article tries to examine the fresh critique of the Dalit vis-à-vis the upper caste-centric society, undertaken in this crucial context of reconfiguration and from beyond any traditional parameter of understanding, and map, through the plays, the plurality hidden within the perceived monolith of Dalit consciousness. Consequently, Dalit experiences against the backdrop of their struggle are laid bare, and unfamiliar realities come out to upset our comfortable knowledge about this large segment of Indian society.

本文通过对两个独立后戏剧的批判性解读来理解印度剧院对当今时代的达利特政治的看法：达塔·巴加特（Datta Bhagat）的《逃亡路线》（Routes and Escape Routes）和维杰·滕杜尔卡（ Vijay Tendulkar）的《坎雅达安》。从政治上讲，“达利特”仅在1947年之后才在独立后和殖民后的印度或更重要的是从1970年代开始变得重要。在达利特人重新配置后的安布德卡（Ambedkar）阶段，只有随着达利特黑豹的崛起以及曼达尔委员会（Mandal Commission）提出的建议实施之后，他们才能最有效和令人信服地通过政治，艺术和文学进行自我主张。其他向后舱（OBC）预订。本文试图考察达利特人对上层社会为中心的社会的新批评，这种批评是在这种重新配置的关键背景下进行的，并超越了任何传统的理解参数，并通过戏剧描绘了隐藏在内部的多元性。被感知的达利特意识巨石。最后，