Theatre in Pakistan

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Contents 1 Theatre in Pakistan 1.1 Indrasabha 2 Post Partition theater 2.1 Pakistani literature 2.2 Saadat Hasan Manto 2.3 Farrukh Nigar Aziz 3 Types of Theatre 3.1 Local Theatre 4 Training Institutions 4.1 Punjab Lok Rahs 4.2 Rafi Peer Theatre Workshop 4.3 UNIMA 4.4 Bond Street Theatre 4.5 Ajoka Theatre 5 Improvisational Theatre 5.1 Black Fish 5.2 School Plays 5.3 Foreign Theatre Companies 6 Challenges

[edit] Theatre in Pakistan

Studying theatre and the performing arts develops aesthetics. This in turn helps to develop an appreciation for the arts which develop personality and teach careful analytical techniques with which one is able to critically analyze things.

[edit] Indrasabha

In 1855, the enactment of the play Indrasabha (the Heavenly Court of Indra) written by Agha Hasan Amanat Ali in the courtyard of the last Nawab of Oudh, Wahid Ali Shah marked the beginning of Urdu theatre. The drama dealt with the love story between a fairy and a prince. The Nawab, who was a Kathak dancer and had written theses on stage techniques, composed some of the songs and choreographed the dances for the play.^[1]

It was a huge success. Its characters (Sabaz Pari (Green Fairy), Kala Deo (Black Devil) and Lal Deo (Red Devil)) live on as a part of the vocabulary of the subcontinent.

[edit] Post Partition theater

[edit] Pakistani literature

The ditinct voice of Pakistani literature came soon after the Partition of India in 1947. Since there were many cultural similarities, Urdu and English Literature was inherited by this new state. Over due course, a literature which was somewhat uniquely Pakistani has emerged in every province. Initially the plays were all about the partition and the atrocities committed on the Muslims by the Hindus but this gradually began to change and the current trend is specifically Pakistani venturing into many different genres.

[edit] Saadat Hasan Manto

Main article: Saadat Hasan Manto

Manto is arguably the most influential Urdu writer of the 20th century. He was one of the most controversial as well. His work is comparable with D. H. Lawrence. This comparison is made because like Lawrence he also wrote about the topics considered social taboos of his Society. He addressed topics ranging from the socio-economic injustice prevailing in pre- and post- colonial subcontinent; he stirred up quite a fury when he wrote about controversial topics of love, sex, incest, prostitution and the typical hypocrisy of a traditional sub continental male. In dealing with these topics, he wasn’t careful to conceal any of the facts and clearly showed the true state of affairs - although his short stories were often intricately structured, with vivid satire and a good sense of humor.

He was a well known film writer of the Indian cinema and was making good money. He however, chose to abandon his lucrative career and migrated to Pakistan. In the seven years that Manto lived in Lahore he continuously struggled for survival. However he proved to be a productive individual who gave some of his best writings to the literary world regardless of his domestic situation. It was in Lahore that he wrote many of his best known work.

Manto was primarily known for his short stories of the subcontinent, great literature out of the events relating to the India-Pakistan partition. The literature, which came out of the period that followed, is considered to have been progressive in its tone and spirit. According to several critics it had not only evolved its own identity, but also had played a significant role in documenting the hardships and hopes of Pakistan in the latter part of the 20th century.

Manto also wrote plays and many of his stories have been successfully adapted for the stage. Some of his characters have become legends in the minds of theatregoers.

[edit] Farrukh Nigar Aziz

She was the daughter of Abdul Aziz Falakpaima, who was a known literary figure even before partition. She and her sisters were educated along the liberal styles of education. The opportunites that these women got were some what of a rarity and were considered a rarity. In those days being educated for Muslim women and that too having a career in the arts or performing arts was considered to be unrespectable.

[edit] Types of Theatre

The general complaint in conservative circles is that commercial theatre is lowbrow and thrives on obscene dialogue and dances. The fact is that at least three departments are tasked with monitoring the activities of commercial theatre. From the Punjab Arts Council, which is responsible for vetting the scripts to District Coordination Officers, who are authorized to monitor the screening of plays, to the Home Department that actually takes action against producers, directors, artistes and theatre owners, the dice is loaded against entertainment at every step.”

[edit] Local Theatre

Commercial theatre is surviving this accusation and, in some cases, even thriving this shows that people want entertainment and are prepared to watch plays despite the hazards of doing so. Just like any demand and supply situation, since there is a demand there will be a supply.

The arrival of commercial theatre in Lahore was in the early 1980s. The joint efforts of Naheed Khanum, Amanullah, Mastana and Baboo Baral ushered in the art the lively dialogues and innovative style was like a breath of fresh air for the citizens. The initial venue for the staging of these plays was Alhamra but a replacement venue had to be sought once Alhamra closed down for renovations in 1981 – 1982.

Unfortunately, commercial theatre is now in decline even though the number of theatergoers is steadily increasing. Each and every script has to be cleared by the Punjab Arts Council (PAC). Consequently, not many new scripts are being written for commercial stage plays. Actors innovate their dialogues on the spot and it is their quick wit that people come to see.

Lahore has five private (Tamaseel, Mehfil, Naz, Crown and Alfalah) and a government theatre (Alhamra). The moral brigade’s claims of vulgarity and calls for closure of commercial theatre have become common in Gujranwala, Faislabad, Multan and Sahiwal. Most of the complaints originate from a small community of zealots while the majority of people enjoy the performances.

In Lahore, the popularity of performances can be adjudged by the fact that most of the audience come from other cities. The theatres are packed on Thursdays, Fridays and Saturdays. A stage play usually runs for 16 days and earns around two million rupees in that time. Tickets cost from Rs. 200 to Rs. 1,000 and if commercial theatres are so hated, then why are they sold out for their entire span?

As said before, commercial theatres are loved by most but not by some. The performances are based on quips and repartee, the thrust and parry of comic wit. However, a person working ten hours a day, five days a week is not looking for staid entertainment. These theatres provide a fresh and invigorating outlook on life through their comic performances, which are followed by the adoring public.

[edit] Training Institutions

[edit] Punjab Lok Rahs

Main article: Punjab Lok Rahs

Punjab Lok Rahs started working as an independent alternative theater group in 1986. The group has seen a number of upheavals both internal and external during its history. On average, the group has held a performance every fortnight since its creation.

It started as a group of young men and women, primarily students, that was concerned with the military oppression of arts and cultural activities in Pakistan. The group cherished a society that has gender equity and democratic values, respects all humans and offers equal economic opportunities to all. Rahs believes in organized and conscious efforts to realize this dream. Theater is its medium.

Rahs’ experience in the art of theater is very deep as well. From staging classical epics to quick response street skits and from working out foreign adaptations to improvising ones with community and from performing at overseas festivals to villages and urban slums, Rahs has touched upon a host of issues. Rahs’ canvas is very wide and diverse as it has dealt with subjects like child marriage and women’s right to marry of their free will and staged plays against arms race and military dictatorship.

Besides experimentation and experience, Rahs has learned theater from its gurus like Badal Sarkar. Its members have received training from many institutions in other countries.

The group has imparted theater training to a number of civil society organizations as well. It has supported scores of other organizations by performing for the communities with which they work.

Rahs draws inspiration from Punjab’s indigenous theater tradition. Its name ‘Rahs’ is the Punjabi word for local form of theater and its logo shows the basic props of this theater. The group aims to marry the tradition with modern techniques and concepts and make it an effective tool in the hands of organizations working for social change.

Rahs performs plays only in the mother language of its audience – the people of Punjab. The group believes that the mother language lies at the heart of the issue of cultural identity and is central to the political struggle of the down trodden classes as well in our part of the world.

The group not only performs but also trains other dramatic societies and community organizations to do theater as an art and use it as an effective tool of communication.

[edit] Rafi Peer Theatre Workshop

Rafi Peer Theatre Workshop is a non-profit organization which is named after the father of modern theatre in not only Pakistan but also the subcontinent. Rafi Peer was inspired by his involvement with the Max Reinhard Seminar in Germany. This is how modern theatre was introduced into the subcontinent. It is the oldest and most well reputed theatre companies of Pakistan. It was initiated in 1974. Its forte has been puppet shows, children’s art festivals, drama programs and various theatre productions.

This workshop has been organizing Lahore’s International Theatre and Dance Festivals since 1992. No organization private or government owned has ever hosted an International Art Festival except for this organization.

• The First was the International Puppet festival of Pakistan in 1992
• The Second puppet festival in 1994
• The National Dance festival in 1995
• The First International Drama Festival Pakistan 1996
• The Second International Dance and Drama Festival 1997
• The 3rd International Puppet Festival Pakistan 1996,
• The 2nd International Theatre & Dance Festival Pakistan 1997,
• The 4th International Puppet Festival Pakistan 1998,
• The 3rd International Theatre & Dance Festival Pakistan 1999,
• The 1st Sufi Soul World Music Festival Pakistan 2000,
• 5th International Puppet Festival Pakistan 2000
• 2nd Sufi Soul World Music Festival Pakistan 2001.
• Sufi Soul World Music Festival Pakistan 2002

[edit] UNIMA

UNIMA or the United International de la Marionnette (the Union of International Puppeteers of the world) was formed on 15 February 1993. The organization is a member of UNESCO and the International Institute for Theatre. The organization has 8000 members from 74 countries.

The member groups of UNIMA Pakistan registered at the time are:

• Professional Member Groups
• Rafi Peer Theatre Workshop (Lahore)
• Lahore Arts Council (Lahore)
• Rasheed Putli Group (Lahore)
• National Puppet Theatre (Rawalpindi)
• Mr. Shahid Tusy (Islamabad)
• Dr. Faqir Hussain Saga (Lahore)
• 3 other folk puppet groups
• Amateur/Student Member Groups
• National College of Arts (Lahore)
• ASNA, Punjab University (Lahore)

[edit] Bond Street Theatre

Bond Street Theatre, in collaboration with the Afghan theatre company, Exile Theatre, will bring its original production, Beyond the Mirror, to theatre and universities in the US this Fall 2005. Created in Afghanistan over the last two years, the play examines issues of war and occupation which dominate the last two decades of Afghan history as witnessed by members of Exile Theatre. The non-verbal play is expressed through film, symbolic actions, compelling images, puppetry, and the physical and musical techniques of both companies to create an evocative montage of stories drawn from life in Afghanistan. The play will be available to theatres and universities in November and December 2005. In addition, the companies can present video-lectures for students, artists and the general public which document their artistic and humanitarian work in Afghanistan and discusses the value of the arts in restoring post-war societies. The two companies will also conduct workshops in Afghan performance styles, Bond Street Theatre techniques, and methods for effective cross-cultural communication and exchange.

[edit] Ajoka Theatre

Found in 1983 when Zia ul Haq’a martial law was as its peak. Since then Ajoka has been popularizing theatre, producing TV/ video plays promoting human rights and social change. Cultural activity is far from free in Pakistan. It is viewed as subversive and the governments have been antagonistic of any form of expression of art and popular culture.

Ajoka pioneered theatre movement in Pakistan, it was set up by a group of young people led by Madeeha Gauhar, a TV actress and theatre director. Ajoka's first play, Badal Sarkar's "Jaloos", was performed in Lahore in 1984, in a house lawn in defiance of the strict censorship laws. Since then Ajoka has been continuously performing socially-meaningful plays within Pakistan and abroad. It has now over two dozen original plays and several adaptations in its repertoire.

[edit] Improvisational Theatre

[edit] Black Fish

Founded in 2002, Black Fish is the first of its kind improvisational theatre troupe in Pakistan. It has a huge following and is very popular among the youth. The group cater to all age groups. The troupe used to perform every Sunday but have reduced the frequency of their public shows to every fortnight. Eventhough they do not advertise heavily, the troupe's popularity has spread from word of mouth and an occassioanl radio announcement that helps the shows manage to draw a packed crowd who sometimes has no place to sit, thus, resorting to sitting on the stairs.

Despite being a Karachi-based groupe, Black Fish has managed to take its performances to other Pakistani cities such as Lahore, Islamabad and even Faisalabad.

In 2004 Black Fish was also selected by the British Council to represent Pakistan in an International Youth Theater Festival Manchester called Contacting The World.

The troupe is currently working with Pakistan's leading English Newspaper, Dawn, to put together the first ever Comedy Festival to be held in Karachi in November 2006.

For more information on Black Fish visit their site www.blackfish.com.pk

[edit] School Plays

Each year, the Old Grammarian School (OGS) gets together and puts up a play at the PACC. These plays are usually in English and the audiences are mostly Grammarians. These plays act as sort of a reunion for all the current students to get together in a single place and feel a sense of unity with their predecessors.

The plays consist of actors who are the alumni of the old school and are to a degree quite seasoned in their vocation. The props and settings of the plays are of a high standard and this explains the cost of the tickets which range from Rs. 500 to Rs. 1000 or more. This explains the kind of audience that is expected.

These plays are not big on advertising but are popularized through word of mouth.

[edit] Foreign Theatre Companies

At the Lahore World Performing Arts Festival the Euro Theatre Central performed for the fifth time. It had performed a German play dialogues of which were learnt by the troupe in English for the benefit of the local audience. The play entitled "Liebesgeflüster" (Raaz and Nias) from Bonn to Lahore. The sponsor of the festival was Rafi Peer. This attracted a huge amount of attention from the locals. The German ambassador even made the journey from Islamabad for the Pakistani premier.

There were artists from Switzerland, Germany and the Wall Street Theatre group from Cologne/Aachen with its Anglo-Saxon two-man artistic comedy show is perfect proof of the fact that comical humor. A youth group from Uzbekistan was also present along with many Indian and Pakistani dancers and performers.

[edit] Challenges

The biggest problem is the mentality of the people of this country. The mindsets are very diverse thus what is decent to one group of people falls under the realms of indecency for the next. Some cities like Gujranwala, Gujrat and Faisalabad have had a history of gate crashing of theatres, attacking artistes and even get actors arrested. Police officials believe they have a moral obligation to prevent artistes from spreading obscenity.

Recently, in a TV program, some participants accused commercial theatre of not following scripts or staging plays without any script. However, as one observer highlighted to Daily Times no one cared to point out that having a script means getting it approved at seven steps from bureaucrats none of whom is qualified to approve a script. Besides, one reason for the popularity of commercial theatre is its spontaneity. In some cases, artistes exchange barbs and putdowns with the audience. “This livens up the play for everyone,” says a regular theatergoer.

The accusation that the dialogue is obscene eschews the fact that commercial theatre normally enacts real-life situations. “That is the way most of us speak Punjabi. Does not the Punjabi love burlesque,” asks a theatre critic.

Since we live in a capitalist environment when there is a demand for something it must be supplied. This form of service should be available if there are people willing to be entertained. Especially for the masses who are generally poor and frustrated with struggling for survival. They get attracted to the local theatre which may be categorized as cheap and obscene.

Although, theoretically we are a moral society who is consciously aware of its values, corruption that has crept into the crevices of the business making bribing of officials widespread. Exploitation of female artistes by the producers and directors of the plays as well as by the government officials tasked with monitoring the theatre is rampant.

An observer commented that there is need to protect the rights and interests of artistes. This can only be achieved through the regulation of theatre in a positive way. But our closed minded society stigmatizes this activity as immoral. Until and unless this form of art is not accepted, quality in this field of art cannot be achieved nor can it be expected.

Because of the problems mentioned above the governments of the past did not utilize resources into this area by building auditoriums and providing facilities in this regard. This may be one of the reasons that street theatre has been so popular. Although many actors who were part of this were arrangement were rounded up and jailed. This is because the government was criticized through this medium.