Akshayambara is an experimental play that uses modern theatrical tools and the dance drama form of Yakshagana to create a contemporary narrative that raises questions on female representation and male ownership.
A male artiste in ‘Streevesha’ plays ‘Draupadi’ while in a tradition-defying move a woman is cast as the ‘Pradhana Purushavesha’ of the Kauravas. What happens to the interpretation of gender when a man plays the Streevesha and the Purushavesha is played by a woman? Who is the real woman and who is the real man? When tradition can accept a man as a Streevesha, can that same tradition accept a woman as a Purushavesha?