Author(s): A. T. Nasheeda

Abstract: This paper investigates the transformative trajectory of female performance in modern Malayalam theatre, tracing how women shifted from marginalized spectacles to active agents of cultural dissent. Through the analytical framework of Judith Butler’s theory of gender performativity, this study interrogates the historical transition from female impersonation by male actors to the radical bodily presence of women on stage during the sociopolitical churn of mid-twentieth-century Kerala. By examining key dramatic movements—such as the anti-caste, progressive political dramas of the KPAC (Kerala People's Arts Club) alongside contemporary feminist experimental theatre—the paper demonstrates that the stage functioned not merely as a space of aesthetic reflection, but as a liminal arena where hegemonic patriarchal norms and caste codes were contested and rewritten. Butler’s formulation of performativity illuminates how female actors redeployed bodily gestures, speech acts, and spatial negotiation to expose gender as a regulatory social construct rather than an innate essence. Concurrently, the paper addresses the enduring structural tensions of the medium: the persistent dialectic between the progressive radicalization of scripts and the moral surveillance, commodification, and domestic containment imposed upon female performers offstage. Ultimately, this study demonstrates that Malayalam theatre served as a vital site of counter-hegemonic practice, wherein women’s embodied presence disrupted regional socio-aesthetic hierarchies, forged an alternative public sphere, and fundamentally reshaped the discourse of modern Kerala's sociopolitical renaissance.

Keywords: Malayalam theatre; Gender performativity; Embodied agency; KPAC and political drama; Social reform in Kerala

Article Info: Received: 20 Sep 2026; Received in revised form: 16 Oct 2026; Accepted: 20 Oct 2026; Available online: 25 Oct 2026

DOI: 10.22161/ijels.115.63