Representation of ethics in the stage dramas of Pakistan Essay

It is a sad reality that granularity and obscenity has adulterate our field of forces as commercialization has become their main motive , this paper discusses these issues. stratum gambols are related to our society and culture, they were the part of our society and will remain, in time modern removes watch taken place . Dances and vulgar com custodyts pose no positive impact on our society and they fail to depict our culture. background knowledge 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, Wajid Ali Shah, marked the beginning of Urdu field of view.The maneuver 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 expression of the S offh Asia. Post Independence battleground Pakistani literature The decided 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. all over due course, a literature which was slimly unequivocally Pakistani has emerged in each province. Initially the plays were all about the independence and the atrocities committed on the Muslims by the Hindus and Sikhs but this gradually began to change and the original trend is specifically Pakistani venturing into many different genres. Saadat Hasan Manto Main clause Saadat Hasan Manto Manto is arguably the most influential Urdu writer of the twentieth century. He was whiz of the most controversial as well. His work is comparable with D. H. Lawrence.This comparison is exculpate because like Lawrence he also wrote about the topics considered socia l taboos of his Society. He communicate 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 wasnt careful to conceal any of the facts and distinctly showed the true state of affairs. His short stories were often intricately structured, with vivid mockery and a good sense of humor.Manto was a well cognise scoot writer of the Indian cinema and was making good money. He however, chose to toss 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 case-by-case who gave some of his best writings to the literary world regardless of his home(prenominal) 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 some(prenominal) critics it had non tho 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. Farrukh Nigar Aziz The daughter of Abdul Aziz Falakpaima, Farrukh Nigar Aziz was a known literary interpret even before the partition.She and her sisters were educated along liberal looks of education. These women received opportunities that were somewhat of a rarity in their day. Formal education for Muslim women and having a career in the arts or performing arts was considered to be unrespectable. 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 to the lowest degree three departments are tasked with monitoring the activities of commercial theatre.From the Punjab devices Council, which is responsible for vetting the ledgers to territorial dominion Coordination Officers, who are authorized to monitor the screening of plays, to the Home Department that in truth takes action against producers, directors, artistes and theatre owners, the dice is loaded against entertainment at ein truth step. 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 necessary and supply situation, since there is a demand there will be a supply.The arrival of commercial theatre in L ahore was in the proto(prenominal) 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 seek 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, diadem and Alfalah) and a government theatre (Alhamra).The moral brigades 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 absolute majority of people enjoy the cognitive processs. In Lahore, most of the audience come from new(prenominal) cities. The theatres are packed on Thursdays, Fridays and Saturdays. A stage play usually run s for 16 days and earns around two million rupees in that time. Tickets salute from Rs. 200 to Rs. 1,000.Training institutions Punjab Lok Rahs Main article Punjab Lok RahsPunjab Lok Rahs started working as an separatist alternative theater group in 1986. The group has seen a return 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 republican values, respects all humans and offers equal economic opportunities to all.Rahs believes in organised and conscious efforts to realize this dream. field of operation is its medium. Rahs experience in the art of theater is very deep as well. From staging classical epics to quick reply 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 womens right to marry of their free will and staged plays against arms move 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 back up scores of other organizations by performing for the communities with which they work. Rahs draws inspiration from Punjabs original 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 shaft in t he hands of organizations working for social change. Rahs performs plays only in the render 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 theater as an art and use it as an effective tool of communication.The Rafi Peer Theater workshop is named after Rafi Peer one of the pioneers and founders of unexampled Urdu and Punjabi Drama in the Ind-Pak Subcontinent. The Theater workshop was founded in 1974 by Salmaan Peerzada and his brothers Usmaan Imraan Sadaan Faizaan and his sisters Kausar and Tasneem Peerzada. The Theater Workshops aim was to bring social and cultural change through the Arts. The theater workshops first Production was Culture Culture. An avant check off theater experiment for its time. It was an effort at creating original contemporary drama in Pakistan.The Play was Pe rformed both in Lahore and Karachi. It was Created and Directd by Salmaan Peerzada, Starring Kursheed Shahid, Perin Cooper,Salman Shahid, Rubina Saigol, Imraan Peerzada and Samina Peerzada. Over past three decades the Rafi Peer theater workshop has produced diverse and dreaded body of work in Drama, Puppetry, Dance, Music, besides this it hosts four major Art Festivals. Rafi Peer theater workshop has done enormous service for performing Arts in Pakistan, by supporting Artists and the Arts.