- By Midhat Zehra & Atta Hussain
FROM TRADITION TO RENAISSANCE
The Journey Of Urdu Theatre In Pakistan
By Midhat Zehra & Atta Hussain
Urdu theater tradition has come a long way, from the lavish palaces of Lucknow to the bustling streets of Karachi, from bridging the gaps between tradition and modernity. Actors, playwrights, and producers have worked together to create this magnificent tapestry. Let’s explore the magical moments together and get in touch with our traditional roots.
Natyashastra is considered to be the guidebook of theater, as it describes different genres of acting, emotion, dance, and costume, guiding actors and playwrights to communicate their art with the audience. Sanskrit art forms influence the tradition of theater in South Asian countries like Pakistan, Bangladesh, and Nepal.
Parallel to religious sacred theaters, street bhands are also a source of entertainment among common villagers; these specific traditional plays were also mentioned in the poetry of Nandarshi and Nooruddin in the 15th century. These plays were performed on common streets, as villagers could not afford the high-maintenance entertainment. Puppetry, storytelling, and bhangray were used during these bhands to gain audience interest.
During the mid-century, theatre tradition was evolving rapidly. Numerous plays by Hindus were composed of their religious myths, while the Muslims of Hindustan largely rejected this form of entertainment. However, the first Urdu play, written by Agha Hassan Amanat and staged by the last Nawab, Wajid Ali Shah, in 1853, marked a turning point.
This drama, based on the story of Peri Jamal and Prince Gulfam, gained popularity among Muslims, providing them with their own form of entertainment. The tradition of Urdu plays also influenced the Parsi community to enhance their theatrical productions.
During the 1880s, Urdu was the predominant language of the subcontinent. The Parsi community recognized its significance and began translating their plays into Urdu, which led to the Parsi theatre’s dominance in the region for almost a century.
Despite its name, Parsi theatre was a diverse platform, involving Parsis, non-Parsis, Muslims, Christians, and Hindus who collaborated in writing plays, composing music, and creating songs. Popular dramas from this era included “Blumangal” and “Naik Parveen.” Theater evolved from focusing on religious stories and myths to addressing the suffering of common people.
During the years 1860-1930, the Urdu theater tradition was at its peak, producing original content. A milestone in Urdu drama was the play “Anarkali,” written by Imtiaz Ali Taj in 1932, which combined the popular folktale of Sasi Punnu with real historical characters like Emperor Akbar and Jahangir. The Victoria Natak Mandali theatre group was also a major contributor to Urdu theatre tradition, translating English plays into Urdu and adding their own unique touch. Renowned figures such as Imtiaz Ali Taj, Krishna Chandra, Saadat Hassan Manto, Rafi Pir, and Upendranath Ashk were legends of this era.
After the partition, despite facing religious constraints, small theatre groups were established across the new country. Lahore emerged as the hub of art and culture, with many well-known English plays being adapted into Urdu and staged at the Alhamra Arts Council. Notable figures such as Kamal Ahmad Rizvi, Naeem Tahir, Shoaib Hashmi, and Khayam Sarhadi were associated with the Arts Council during this period.
During the 1970s and 1980s, it is commonly believed that Pakistani theatre experienced a period of stagnation due to the political climate of the time. Zia-ul-Haq’s censorship of plays and the withdrawal of state support contributed to this decline. However, this political repression ironically inspired a new wave of creative political expression. A brand of theatre focused on social change emerged, led by groups such as Ajoka Theatre, headed by Madiha Gauhar and her husband Shahid Nadeem in Lahore, and Tehrik-e-Niswan in Karachi, founded by iconic classical dancer Sheema Kermani.
In Pakistan, theatre has seen a renaissance since the beginning of the twenty-first century. NGOs and other private organizations have played a significant role in this revival by fostering relationships with international theatre companies. Universities have also been instrumental in Pakistani theatre’s comeback. Institutions such as the National Academy of Performing Arts in Karachi and Beaconhouse University in Lahore now offer theatre programs, contributing to its resurgence.
Urdu theatre has indeed traversed a rich and vibrant journey, weaving together tales of tradition and modernity, from the streets of Lucknow to the cultural epicenter of Karachi. It has embraced diverse influences—from ancient Sanskrit traditions to the dynamic narratives of post-partition Pakistan. Today, as we celebrate its resilience and evolution, let’s continue to cherish and support this art form that connects us to our roots and reflects our collective stories!
