Why Women Playwrights Still Fight for the Spotlight in Theatre

Women playwrights have long struggled for recognition in theatre, both globally and in India. Despite progress in other creative fields, their work remains sidelined on mainstream stages. Historical biases and cultural barriers have kept their voices from being heard as widely as those of men. For centuries, women were excluded from acting and writing for the stage. In India, social norms restricted their participation in theatre, pushing many to write anonymously or in private. Even when they did write, their plays were rarely performed on major stages. Instead, their work often appeared in smaller, experimental venues or fringe festivals.

Access to classical languages—key to high-art drama—was traditionally limited to men. This further marginalised women, leaving them with fewer opportunities to shape theatrical traditions. Some, like Swarnakumari Devi and Mahasweta Devi, broke through by writing plays that centred women's experiences. Later, figures such as Nadira Zaheer Babbar and Purva Naresh took on both writing and directing, carving out space for female perspectives. Globally, trailblazers like Hrotsvitha, Aphra Behn, and Lorraine Hansberry challenged norms with their work. Yet today, plays taught in schools and universities are still mostly by men. This reinforces the idea that only male voices hold artistic value. Purva Naresh has noted that women playwrights often face resistance, particularly when addressing women's issues. The pressure to avoid narrow storytelling while still giving voice to female experiences adds another layer of difficulty.

The underrepresentation of women playwrights persists, even as other forms of writing see greater gender balance. Their plays continue to find homes in experimental spaces rather than mainstream stages. Without specific data on recent trends in Indian theatre festivals or awards, the full extent of this disparity remains unclear.