Theatre in Pakistan has been developed and influenced by the traditional and ritual Persian theatre as well as the classical Indian dance practices of the Mughal Empire. As Pakistan is an Islamic state, the production of plays and theatrical performances in the past was not condoned in the country for religious reasons. That is why this performing art did not have the opportunity to develop and flourish. The concept of Pakistani theater as a national heritage could only be traced back to modern plays due to the absence of any classical theatrical tradition, while folk literature has also been largely obscured except the performances of the Bhand.
Background With the establishment of the Delhi Sultanate that began in the 11th centuries, theatre was discouraged or forbidden entirely.Brandon (1997, 72) and Richmond (1998, 516). Pakistan, like its Middle Eastern neighbors, did not condone the performing arts except the popular performances of comic dialogues that crudely displayed the female body.
Later, however, in an attempt to re-assert indigenous values and ideas, village theatre was encouraged across South Asia, developing in a large number of regional languages from the 15th to the 19th centuries.Brandon (1997, 72), Richmond (1998, 516), and Richmond, Swann, and Zarrilli (1993, 12). The history of theatre beginning this period coincided with- and often mirrored the political developments in Pakistan. Theater groups, for instance, performed repertoires that depicted and challenged extremism as well as biased notions of nationalism, religion and gender.
Urdu theater The modern theatre in Pakistan, which emerged in 1853, is equated with the Urdu-language theater. It was developed during the period of colonial rule under the British Empire, from the mid-19th century until the mid-20th.Richmond (1998, 516) and Richmond, Swann, and Zarrilli (1993, 13). The performance of the play Inder Sabha (The Heavenly Court of Indra) written by Agha Hasan Amanat in the court of the last Nawab of Oudh, Wajid Ali Shah in 1855, has been highly regarded as the beginning of Urdu theatre.South Asian arts:: Theatre in Pakistan - Britannica Online Encyclopedia
There is a controversy with regards to whether Urdu theater was influenced by Western sources or mainly a product of Urdu's literary tradition. There are historians, for instance, who proposed that the style of Inder Sabha had elements that can be traced to the French, a position that Masud Hasan Rizvi rejected. This Indian author claimed that Urdu literature is patterned after ancient Sanskrit plays.
Today, Pakistan has a growing theatre culture, and Urdu theater competes with English plays for dominance in the country's entertainment industry.Theatre in Pakistan: From English to Urdu The major competition with theatre is that represented by growing television industry and the spread of films produced in the Pakistani film industry based in Karachi and Lahore, known as "Lollywood". Lack of finance is another major obstacle.
Inder Sabha In 1855, the enactment of the play Inder Sabha written by Agha Hasan Amanat in the court of the last Nawab of Oudh, Wajid 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. 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 South Asia.
Post independence theatre
Pakistani literature The distinct 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 Pakistan Movement and the Persecution of Muslims and anti-Muslim pogroms during the independence by the Hindus and Sikhs. This gradually began to change in 1960s and the current trend is specifically Pakistani venturing into many different genres.
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 South Asia; he stirred up quite a fury when he wrote about controversial topics of love, sex, incest, prostitution and the typical hypocrisy of a traditional South Asian male. In dealing with these topics, he wasn't careful to conceal any of the facts and clearly showed the true state of affairs. His short stories were often intricately structured, with vivid satire and a good sense of humor.
Manto 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 works.
Manto was primarily known for his short stories of the South Asia, great literature out of the events relating to the Partition of India. 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 theatergoers.
Umer Shareef During the late 1980s Umer Sharif became the most well known stage performer in Pakistan after his extremely popular 1989 comedy stage plays Bakra Qistoon Pay and Buddha Ghar Pe Hai. In both he starred with another comedy legend Moin Akhter. Bakra Qistoon Pay is considered by critics in India & Pakistan to be the show that made stage plays what they are today in Pakistan. Before the advent of Bakra Qistoon Pay majority stage shows in Pakistan used to be classy with rather poetic dialogs. After Bakra Qistoon Pay stage shows became a vibrant, majorly comical (and often gritty) part of the Pakistani culture. Sharif now host a program The Shareef Show Mubarak Ho on Geo TV.
Types of theatre The general complaint in conservative circles is that commercial theatre is lowbrow and thrives on obscene dialogue and dances. 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, which actually takes action against producers, directors, artists and theatre owners, the dice are loaded against entertainment at every step.
Karachi is also creating theatre of all forms, especially the Karachi arts council. Napa (National Academy of Performing Arts) also works in all the domains and forms of theatre. Both conduct theatre festivals on a regular basis.
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 Babu 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.
Each and every script has to be cleared by the Punjab Arts Council (PAC).
Lahore has five private (Tamaseel, Mehfil, Naz, Crown and Alfalah) and a government theatre (Alhamra). The moral citizens were scandalized by the low-quality, obscene and vulgar shows called for the closure of commercial theatre have become common in Gujranwala, Faisalabad, Multan and Sahiwal. Most of the complaints originate from religious conservative populace while mostly male crowd enjoy these performances.
In Lahore, 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.
Training institutions
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 theatre 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 theatre from its gurus like Badal Sarkar. Its members have received training from many institutions in other countries.
The group has imparted theatre 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 theatre tradition. Its name 'Rahs' is the Punjabi word for local form of theatre and its logo shows the basic props of this theatre. 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. The group not only performs but also trains other dramatic societies and community organizations to do theatre as an art and use it as an effective tool of communication.
NAPA (National academy of performing arts, Karachi)
NAPA is a performing arts school located at Hindu Gymkhana in Karachi, Sindh, Pakistan. NAPA was established in 2005 as an institution to conserve and teach performing arts and music. Until 2023, NAPA was under the leadership of Zia Mohyeddin.