শেখর দেবরায়ের ‘মনসাকথা’ নাটকে নিম্নবর্গের মানুষের কণ্ঠস্বর: একটি সমাজতাত্ত্বিক বিশ্লেষণ
Volume-XIV, Issue-IV, JULY 2026
Volume-XIV, Issue-IV, July 2026 | ||
Received: 09.07.2026 | Accepted: 18.07.2026 | |||
Published Online: 31.07.2026 | Page No: 01-11 | |||
DOI: 10.64031/pratidhwanitheecho.vol.14.issue.04W.111 | ||||
শেখর দেবরায়ের ‘মনসাকথা’ নাটকে নিম্নবর্গের মানুষের কণ্ঠস্বর: একটি সমাজতাত্ত্বিক বিশ্লেষণ ড. সুপ্রিয়া দাস, সহযোগী অধ্যাপিকা ও বিভাগীয় প্রধান, বাংলা বিভাগ, রামঠাকুর কলেজ, আগরতলা, পশ্চিম ত্রিপুরা, ভারতদীপক দে, অতিথি প্রভাষক, বাংলা বিভাগ, রামঠাকুর কলেজ, আগরতলা, পশ্চিম ত্রিপুরা, ভারত | |
The Voice of the Marginalized in Shekhar Debray's Monsakatha: A Sociological Analysis Dr. Supriya Das, Associate Professor & Head, Department of Bengali, Ramthakur College, Agartala, West Tripura, India Dipak Dey, Guest Lecturer, Department of Bengali, Ramthakur College, Agartala, West Tripura, India | |
This paper offers a sociological reading of Shekhar Debroy’s Mansakatha, examining how the play foregrounds the voices, struggles, and cultural identity of subaltern communities. Reinterpreting the traditional Manasamangal narrative, Debroy transforms the conflict between Goddess Manasa and Chand Sadagar into a symbolic struggle between the marginalized and the dominant social order. Chand Sadagar represents upper-caste, patriarchal, and hegemonic power, while Manasa emerges as the embodiment of oppressed communities, women, and neglected social groups seeking dignity and recognition. Through the experiences of boatmen, labourers, and other marginalized characters, the play exposes exploitation, caste discrimination, economic inequality, and cultural exclusion. The study further demonstrates how Debroy employs folk language, regional dialects, songs, and indigenous theatrical conventions to preserve the lived experiences and collective consciousness of subaltern people. Rather than presenting Manasa merely as a mythological deity, the play reconstructs her as a symbol of resistance, social justice, and cultural assertion. The eventual acceptance of Manasa, though partial and reluctant, signifies a symbolic challenge to entrenched structures of domination and the beginning of social transformation. Thus, Mansakatha transcends the boundaries of mythological drama and becomes a powerful socio-political text that articulates the aspirations, agency, and identity of marginalized communities within the broader discourse of caste, gender, class, and power in Bengali literature. | |
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