Premanand Gajvee’s plays Devnavari (2019) and Jay Jay Raghuvir Samarth (2019) portray cultural displacement and fragmented, or staggered, identities among oppressed communities. It begins by situating Gajvee within modern Marathi experimental and Dalit theatre, highlighting his focus on caste, marginalization, and the exposure of social hypocrisy through simple and direct dramatic language. The study reads Devnavari as a powerful reworking of the Devadasi/Devnavri tradition, showing how the “bride of god” is turned into a “Dalit of patriarchy,” whose body and identity are sacrificed in the name of religion and custom. Jay Jay Raghuvir Samarth is analysed as a critique of the appropriation of Samarth Ramdas and saint‑worship culture, where the ethical core of Bhakti is displaced into caste‑ridden and survival politics. Using the concepts of cultural displacement and social realism, the paper strives to analyze Devanavari and Jay Jay Raghuvir Samarth represent distorted traditional roles and belief systems, and foreground socio‑political and economic realities rather than abstract spirituality. The research argues that Gajvee’s theatre turns the stage into a resistant political site of culturally displaced subjects confront religious and cultural authority and articulate subversion of identity.
Mr. Nitish Pandurang Shinde (Mon,) studied this question.