Silence and Subversion in Dina Mehta’s Play Brides Are Not for Burning

Abstract

This paper examines the multifaceted dimensions of protest in Dina Mehta’s powerful play Brides Are Not for Burning (1993), which confronts the pervasive social evil of dowry deaths in India. Through an analysis of character dynamics, thematic concerns, and dramatic techniques, the study explores how Mehta transforms personal tragedy into political commentary. The play transcends the specific issue of bride burning to encompass broader critiques of patriarchal structures, judicial corruption, economic inequality, and environmental degradation. By creating Malini as a protagonist who embodies resistance, Mehta demonstrates how drama can function as an instrument of social awakening. The paper argues that the play’s enduring significance lies in its refusal to offer simplistic solutions while compelling audiences to confront uncomfortable truths about systemic injustice.