Art, Authority, and the Fragile Quest for Freedom

Art has long stood as a vessel for human self-expression, challenging systems that seek to

define, contain, or suppress the individual. In both Dead Poets Society (1989) and Guide (1965), as well as in the broader historical trajectory of Indian theatre, the stage becomes a platform for rebirth of identity of self and external defiance. This essay examines how the conflict between art and authoritarian societal structures manifests in cultural texts, and how this tension alters individual identity- often with tragic repercussions. By analyzing the correlation between suppression of art and personal rebellion, the essay argues that art functions not merely as entertainment but as a medium through which individuals define themselves, and when this is denied, the psychological costs can be profound.

Introduction

Art and authority can be seen as two sides of a coin, they both have their place in society, but they often clash, creating conflict. Expressing art in a world guarded by social order can be seen as a ‘voice of dissent’ or a ‘symbol of deviance’ from the norm. Art is part of a larger discourse which the world is not prepared for yet. In Dead Poets Society (1989) and Guide (1965), this conflict arises and manifests in different forms. The characters of Neil Perry and Rosie go on a trajectory in pursuit of their dreams, but their fates play out differently. As seen in Salman Rushdie’s novel Haroun and the Sea of Stories, he explores Haroun’s quest to overcome the forces that seek to stifle the art of storytelling. Although Haroun's fight is not framed in the terms of personal tragedy to the same extent as Neil or Rosie, the stakes remain high. Rushdie’s narrative serves as a counterpoint that forces us to raise the question; under what circumstance does art prevail, and when does it lead to loss or radical transformation?

When we come to look deeper into the similarities between Dead Poets Society and Guide, we can conclude that though Neil and Rosie suffer in pursuit of their dreams, Raju and Neil can relate on a much deeper level. They both go through a journey of self discovery followed by suppression and tragedy. In both the films, art acts as the medium for identity formation. This essay argues that an individual’s artistic passion is not just amusement, but helps individuals define themselves and transform, and when this is denied, the psychological costs can be profound.

Dead Poets Society: Theatre of Liberation and Suppression

Instead of taking the traditional approach, let’s envisage ourselves as someone whose art is their guiding north star, but the electric current of authority keeps grounding them.In Dead Poets Society, the four pillars, ‘tradition, honor, discipline and excellence’ acts as the current of authority restricting students from chasing their north star. Against this backdrop, the role of John Keating, appears as a moral compass for students, leading them to the north star. Keating, with his mantra, ‘Carpe Diem’, introduces a new perspective to the students, a direct challenge to the conformity that the Welton academy proposes.

Neil Perry, a student at Welton academy, is exposed to Keating’s teachings, and performs in a local production of Midsummer Night’s dream. This action of him is in contrast to his meticulously planned future imposed on him by his father. Neil’s performance in the place was groundbreaking, inspired by Keating's advice to “seize the day”, he could finally step out of the shadows and embrace his true self.

His delivery of Puck’s final monologue- “If we shadows have offended, Think but this, and all is mended....- was truly liberating, as

he directed it to his father, seeking forgiveness and approval-"If you pardon, we will mend. ... Give me your hands, if we be friends, And Robin shall restore amends"(H. Kleinbaum). This signified Neil’s last chance to seek pardon, but his father remained deaf to Neil’s emotions and what could have been a chance to mend their relationship and find solace in each other, it turned into a tragedy. Mr Perry could not forgive his son, and Neil, believing that his family would never accept his passion for acting, shot himself. This tragedy was symbolic of the erasure of identity that theatre helped him to construct.

Guide: Dance and Price of Liberation

In Guide, directed by Vijay Anand, Raju, the protagonist, starts his journey as a tour guide and eventually evolves into a theatre manager through his relationship with Rosie and ultimately takes the shape of a spiritual guide to a village. The art of dance in Guide serves as a metaphor for liberation for Rosie, especially against the backdrop of a conservative society, where dance was nothing more than entertainment. Raju rescued Rosie, who was trapped in a loveless marriage, and transformed her from a helpless woman into a successful professional dancer. One thing that caught my attention was that

forced to wear before being executed. Just as “crown of thorns” has become a symbol of

The crown of flowers that he

wore might allude to a famous Biblical symbol, the crown of thorns that Jesus Christ was

suffering and sacrifice, the crown of flowers suggests the way that Neil will sacrifice his

life for the love of art and beauty (LitCharts).

even though Raju’s character evolved throughout the movie, he was constantly portraying the role of a guide more or less. In the beginning, we could see him as a tour guide showing people the beautiful city of Udaipur, then he evolved into a guide in Rosie’s life, guiding her to the path of success, and then accidentally became a spiritual guide to the village people, imparting them wisdom and guiding them.

Rosie’s transformation is particularly notable. She was married off to a wealthy but orthodox man, who did not support her passion to pursue dance and did not care for her. Marco, her husband, only paid lip-service to a casteless, conventionless society that was slowly taking shape before him by advertising for a good-looking educated young lady regardless of caste. Old prejudices die hard and Marco for all his erudition looked upon dancing as just street acrobatics and he killed Rosie’s instinct for life and love of art by denying her both of them (Narasimhaiah132). Raju, in contrast to Marco, gave life to her passion, guided and motivated her to pursue her dreams and gave her a roof and means to do so as well. Raju was in this sense Rosie's moral compass, leading her to her north star. In the film, there comes a scene where Rosie, after finally being separated from her husband, buys ghungroos for herself, and roams around the market wearing them. That specific scene not only epitomizes her love and passion for dance, but also exemplifies how wearing of ghungroos was not just emblematic of dancing, but depicted the feeling of being liberated, from her husband, her marriage and societal norms. Raju soon realised that people in the market were gawking at her, as her actions were seen as ‘shameful’ and ‘disgraceful’. Women in cinema are always subjected to the ‘male gaze’; these layers of gaze reflect Mulvey’s three perspectives; camera, characters and spectator (Mulvey, 2013).The songs in the movie are exemplary in the character arcs of Rosie and Raju. The transitions from “Din Dhal Jaye” to “Aaj Phir Jeene Ki Tamanna Hai” expresses Rosie’s shift from suicidal despair to a vibrant will to live, showing how her passion for dancing catlysed her profound psychological struggle. Unlike Neil’s tragic suicide, Rosie pursues her passion, and becomes a world renowned dancer. She finds acceptance in Raju’s unwavering faith in her, and we see a new Rosie, in the body of Nalini, embracing purity, beauty and grace.

History and Parallels in Indian Theatre

Both Dead Poets Society and Guide mirror pivotal struggles in the history of Indian theatre, where performance becomes a battleground for identity and authority. Neil Perry’s performance Of Puck in Midsummer’s Night Dream is abruptly curtailed by his father, much like Dinabandhu Mitra’s Nil Darpan was censored under the British-imposed Dramatic Performances Act of 1876 , which cast a spotlight on the exploitative practices of English indigo planters (Neti, 2021). Rosie’s transformation from a stigmatized “tawaif” into a renowned classical dancer under Raju’s guidance parallels post-independence efforts to elevate the stature of classical dance forms, and purifying them of their courtesan associations.

The historical record of censorship, repression, and even martyrdom in Indian performance art supports the falsifiable hypothesis: when authorities suppress or control artistic expression, the resulting tension often results in a destructive conflict with personal identity and social order. Ultimately, these examples show how art and authority always clash, art can never just be an arena for amusement, but also for resistance, where passion can clash with authority, and the outcome can be as transformative as they are tragic.

Psychological Consequences of Repression

The consequences of suppressing one’s artistic passion can be dire. You keep stirring the pot and finally the person cracks, as seen in Neil’s tragic ending. Drawing on Erikson’s theory of Identity formation (1968), we can understand how adolescence is a crucial period for discovery of self. For young adults like Neil, theatre was a safe haven and when this refuge was abruptly taken, by authority figures like his father or the Welton academy; it can result in a loss of identity, which further took form into a devastating incident. Neil’s suicide was emblematic of a prolonged feeling of internal decay perpetrated by authoritarian suppression, and was not simply an act of despair.

Similarly, in Guide, the internal conflict experienced by Raju can be understood by Jung’s concept of Individuation (Jung, 1969). Raju, in his mind, oscillates between his personality as a tour manager and his assumed role as a spiritual guide, who is fasting so the drought in the village ends. As he confronts his shadow impulses; greed and egoism, he eventually reconciles them with his emerging personas; altruism and spirituality. He embodies the amalgamation of opposites which Jung identifies as central to self-realisation.

These tragic outcomes do not result in isolation, they ripple outward, affecting the society in large and reinforcing these toxic cycles. The collapse of the support system, as seen in Dead Poet Society, where Keating was dismissed for his unconventional teachings, this further shows that repressing art goes beyond the individual, it alters the moral fabric of the society. The relationship between art and authority further complicates, as art holds

the power to mobilise resistance.When authority responds with repression to this mobilisation, this toxic cycle becomes self-perpetuating. For instance, the backlash against street theatre in India is not solely an effort to curb political dissent but also an attempt to stifle the very medium that empowers marginalized voices. Thus, rebellions come with heavy personal cost, thereby establishing a potential link between the suppression of passion and tragic endings.

Conclusion

In grappling with the journeys of Neil Perry, Rosie, Raju and the broader saga of Indian theatre, I’ve come to see that art is never just for amusement but a form of resistance against authoritarian impulses. This essay has persuaded me that when authorities move against artists, they're not merely silencing entertainment but are attacking the very heart of the individual. I now see that the price of such repression is never paid by art alone; it fractures souls and cuts off communities. But I also know, with hope, that the ability of art to promote "everyday resistance" continues, from secret performances to the gentle subversions of painting and writing.

Finally, these stories compel me to cherish artistic freedom not as a privilege but as a right, one whose preservation is necessary if we are to protect ourselves against the insidious creep of authoritarianism in any aspect of life. And as I step back from this examination, I take with me the belief that each poem ever written, each play ever produced, and each dance ever danced is a small but meaningful step toward maintaining our feeling towards following passion, and not conformity.

Works Cited

1. Dead Poets Society. Directed by Peter Weir, Touchstone Pictures, Walt Disney Studios Motion Pictures, 1989.

2. Erikson, E. H. (1968). Identity: Youth and Crisis. Norton.

3. Narasimhaiah, C. D .(2006), “R. K. Narayan’s The Guide.” Aspects of Indian Writing in English.

4. Guide. Directed by Vijay Anand, 1965.

5. H. Kleinbaum, Nancy . “Pardon Our Interruption.” Coursehero.com, 2025, www.coursehero.com/lit/Dead-Poets-Society/chapter-12-summary/?  Accessed 7 May 2025.

6. Howell, Cory. “Puck’s Final Speech.” Medium, 4 June 2020, medium.com/bites-of-bard/pucks-final-speech-5c6cc8164bf6 .

7. Jung, C. G. (1969). The Archetypes and the Collective Unconscious. Princeton University Press.

8. LitCharts. “Puck’s Crown Symbol in Dead Poets Society.” LitCharts, 2025, www.litcharts.com/lit/dead-poets-society/symbols/puck-s-crown? Accessed 7 May 2025.

9. Mulvey, Laura . Visual Pleasure and Narrative Cinema. 2016. Routledge, 1988.

10. Neti, Leila . “Staging the Raj: The Dramatic Performances Act and Anti-Colonial Theater | Fifteen Eighty Four | Cambridge University Press.” Fifteen Eighty Four | Cambridge University Press - the Official Blog of Cambridge University Press, 24 June 2021, cambridgeblog.org/2021/06/staging-the-raj-the-dramatic-performances-act-and-anti-colonial-theater/? . Accessed 7 May 2025.

1. Teverson, Andrew S. “Fairy Tale Politics: Free Speech and Multiculturalism in ‘Haroun and the Sea of Stories.’” Twentieth Century Literature, vol. 47, no. 4, 2001, pp. 444–66. JSTOR, https://doi.org/10.2307/3175990 . Accessed 7 May 2025.