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The mysterious discomfort the parents feel at Kaamiyas questions uncovers an interesting layer in the play the sense of a more or less-ness to the freedom the women enjoy, as all of them are allowed to be themselves and do what they want but only to the extent that it does not pose a challenge to the established order of the cookie-cutter mould of the happy married life. She enquires of her mother Do you love father? to which her mother responds by stating the number of years that they have been together and all the things she does to help him around the household. Aunty Sarla left her husband even though he had a stable job and a good income because he would drink too much and beat her; a fact that she has to reiterate even years after the separation happened every time the people around her take it upon themselves to bemoan her lonely spinsterhood.

The play goes beyond the smokescreen of the vague idea of a womans independence based on early conditioning and constant reaffirmation, which is in truth, a strictly defined pseudo-independence that can crumble at the slightest provocation.In a tender scene, as his sister Sarla indulges herself in her lofty dreams of a cottage in the mountains with a lovely garden and servants to look after her in her old age, he asks whether he too will be granted a small room there for himself; a rare reflection on the pressures that patriarchy puts on men too. She is greeted by her anxious mothers questions about why she left her husband, and Kaamiya says that she fell out of love.Qadir Ali Baig Theater Foundation in collaboration with KARVY brings the A Celebration of World Class TheatreFestival is bought in association with Telangana Tourism, the Embassy of France, Ministry of Culture, Salar Jung Museum, and Government of Telangana. As the man of the house, he has inherited the sense that he must protect the ever-endangered ghar ki izzat and that any exercise of truly autonomous thought and action by a woman is a direct threat to his god-given paternal authority. We also learn about Kamla, Kaamiyas sister, who has ended up in the asylum after she didnt pay heed to her fathers childhood warning that women who have lovers go to hell.

Kaamiya often reminisces about Kamla and ponders over her naive confusion at her urges and China bottle crate mould Factory instincts going against what she had been conditioned since childhood to want from life.Today on the10th and the last day of the festival a Hindi Play KAAMIYA was staged.Kaamiya, the elder daughter of a middle-class Punjabi household, returns to her parents home after ending her marriage with her husband Murli.In the meanwhile, her aunty Sarla, the divorced sister of her father holds on to her pride and dignity as she lives off the kindness of her brother and his wife, a fact that she is reminded of by her sister-in-law every few hours of the day. But as soon as he starts to learn of her new-found unusual ideas about having felt trapped in her supposedly functional marriage and desiring freedom even though she was given everything she thought she wanted, he makes it clear that if she is to live under his roof she must stop saying such things and risking his reputation in the community.This Year’s Theme: Biographies. Or could it just be habit? Kaamiya ponders such philosophical questions. Why do people think that a married woman can never get lonely? she asks at one point, hinting at Kaamiyas mother who obsessively cleans the house in between the baths she keeps taking to calm her nerves.Kaamiyas soft-spoken but stern father welcomes Kaamiya back home without demanding any answers.