Monday, November 23, 2009
AUTHORS
Umar Farooq (Group Leader)
Anum Rehman
Mohsin Ali Jawa
Muhammad Usman
Saud Waheed Khan
M. Usman Sohail Qureshi
Anum Rehman
Mohsin Ali Jawa
Muhammad Usman
Saud Waheed Khan
M. Usman Sohail Qureshi
ACKNOWLEDGEMENTS
Firstly and fore mostly we want to thank ALLAH without Whom we wouldn’t have accomplished our goals.
It was not possible for us to do this detailed research work alone. We would like to acknowledge some people who really helped us in gathering information data and interviews. First of all we would like to thank Mr. Asif Pervaiz for helping us in arranging most of the interviews. Then Mr Zubair khan, Mr Zubair Naqvi, Mr Razzaq.
Ms Samra Rana, Ms Sameen, Ms Honey Tahira, Mr Anwar ali and other artist for giving us their precious time.
In the end and the most importantly we are very grateful to our instructor Ms. Sameea Amjad for teaching us the course Language, Culture and Society so beautifully that enabled us to do this work. She was very helping throughout doing this research.
It was not possible for us to do this detailed research work alone. We would like to acknowledge some people who really helped us in gathering information data and interviews. First of all we would like to thank Mr. Asif Pervaiz for helping us in arranging most of the interviews. Then Mr Zubair khan, Mr Zubair Naqvi, Mr Razzaq.
Ms Samra Rana, Ms Sameen, Ms Honey Tahira, Mr Anwar ali and other artist for giving us their precious time.
In the end and the most importantly we are very grateful to our instructor Ms. Sameea Amjad for teaching us the course Language, Culture and Society so beautifully that enabled us to do this work. She was very helping throughout doing this research.
ABSTRACT:
This paper is basically the analysis of commercial and non commercial theatre and similarity and dissimilarity between them. We have evaluated this on the basis of language culture and its impact on society. Commercial and non commercial theatres occupy significant position in providing entertainment to the people but unfortunately our commercial theatres are no more the same as few years ago. Vulgarity and obscenity has corrupted our commercial theatres. While non commercial theatres are trying to change the scenario but still a lot of effort and improvement is required. This paper discusses the difference between commercial and non commercial theatres, the importance of dances in theatres, role of government in supervising theatres and its effect on society with some recommendations in the end.
INTRODUCTION:-
Theatre is a branch of performing arts which has a very old history. The first known theatrical event was a performance of sacred plays in 2500 BC in Egypt. The word theatre is derived from ancient Greek ‘theatron’ meaning “the seeing place”. There are different types of theatre which includes drama, musical theatres and comedy etc. In 1855 the enactment of the play Indrasabha written by Agha Hassan Amanat Ali marked the beginning of Urdu theatre. After independence initially the plays were about independence but gradually the trend changes venturing into many different genres. In Pakistan there are many training institution. In our research we have categorized theatre into two basic types, Commercial and Non-Commercial theatre. And we have found that both of them are totally different in their nature.
The training institutions like Punjab Lok Rahs, Rafi peer theatre workshop, UNIMA, Ajoka are working in Pakistan in field of theatre. NAPA is the only performing arts academy in Pakistan. NAPA's mission is to restore the sanctity of professions relating to the performing arts.
Different type of theatres attracts different class of people. Theatres have become very popular that many cinemas have been converted to theatres in Pakistan. So theatre is an important domain which affects our society in many ways.
Our topic for research will be the comparison of the language and culture of commercial and non-commercial theatre. We are familiar with this impression that language used in commercial theatres is vulgar and indecent. Theatres that once used to be the important part in entertainment are no more the same. Today the families cannot watch commercial theatres due to vulgarity and dances in it. Non-commercial theatres are somewhat different from commercial theatres and they depict some cultural values of our society and involve use of civilized language. Recognizing the above stated problem with commercial and non-commercial theatres, we will be conducting out research to find out the underlying causes of the prevailing problems. Furthermore we will be trying to figure out some suggestions in order to improve the situation of theatres. We hope that our research would be beneficent and prove valuable for all social institutions including the theater authorities and the Government.
The training institutions like Punjab Lok Rahs, Rafi peer theatre workshop, UNIMA, Ajoka are working in Pakistan in field of theatre. NAPA is the only performing arts academy in Pakistan. NAPA's mission is to restore the sanctity of professions relating to the performing arts.
Different type of theatres attracts different class of people. Theatres have become very popular that many cinemas have been converted to theatres in Pakistan. So theatre is an important domain which affects our society in many ways.
Our topic for research will be the comparison of the language and culture of commercial and non-commercial theatre. We are familiar with this impression that language used in commercial theatres is vulgar and indecent. Theatres that once used to be the important part in entertainment are no more the same. Today the families cannot watch commercial theatres due to vulgarity and dances in it. Non-commercial theatres are somewhat different from commercial theatres and they depict some cultural values of our society and involve use of civilized language. Recognizing the above stated problem with commercial and non-commercial theatres, we will be conducting out research to find out the underlying causes of the prevailing problems. Furthermore we will be trying to figure out some suggestions in order to improve the situation of theatres. We hope that our research would be beneficent and prove valuable for all social institutions including the theater authorities and the Government.
MAJOR QUESTION & SUBSIDIARY QUESTIONS:-
MAJOR QUESTION:-
‘What is the difference between language and culture promoted in commercial and non commercial theaters?’
SUBSIDIARY QUESTIONS:-
1. What is major difference between commercial and non commercial theaters of Pakistan?
2. Which type of language is used in theatres?
3. Which social class is attracted towards commercial and non commercial theatres?
4. What image of society do the theaters (both commercial and non-commercial) of Pakistan depict and why?
5. Is Government of Pakistan supervising the contents showed in these theaters, if yes then to what extent?
6. What is the role of dances in theaters?
7. What is the difference between a theater and a cinema?
‘What is the difference between language and culture promoted in commercial and non commercial theaters?’
SUBSIDIARY QUESTIONS:-
1. What is major difference between commercial and non commercial theaters of Pakistan?
2. Which type of language is used in theatres?
3. Which social class is attracted towards commercial and non commercial theatres?
4. What image of society do the theaters (both commercial and non-commercial) of Pakistan depict and why?
5. Is Government of Pakistan supervising the contents showed in these theaters, if yes then to what extent?
6. What is the role of dances in theaters?
7. What is the difference between a theater and a cinema?
LITERATURE REVIEW:-
Language is a tool which reflects our culture and society. Thus the trilateral relationship of language, culture and society is very important. Language used in commercial theatres is quite different from the one used in non-commercial theatres. Commercial theatres in Pakistan have become a source of generating income and they are not addressed for real entertainment of the masses, while on the other hand non-commercial theatres are more focused towards entertainment of the public. Unfortunately research in this topic has been very limited. Research conducted before has made it clear that language used in our commercial theatres is vulgar and offensive. A research by a renowned linguist and Professor at Lahore School of Economics Dr Shahid Siddiqui in his article in DAWN “Gender Representation in Films and Theatres” reveals that commercial theatres are a source of promoting vulgarity and obscenity. Dr Shahid Siddiqui further says elaborating the type of language used in commercial theatres “The language of theatre plays is usually so obscene that they can hardly make for family entertainment.” One thing is clear from the above lines that culture represented in our commercial theatres does not resemble our original Pakistani culture. Non-commercial theatres such as Ajoka and others held by different drama societies in universities and colleges are somewhat more related to our Pakistani culture and the language used in them is decent. Claire Pamment an Assistant Professor at Beacon House University has agreed to this point that non-commercial theatres are true representative of Pakistani culture as compared to commercial theatres. Still so many flaws related to commercial theaters of Pakistan, a lot of people, mostly male, like to watch plays and dramas at such theatres. Thus in other words it would be easy to say that commercial theatres are male dominated and this is also expressed by Huma Safdar in her article “The Representation of Women in Commercial Theatre”. She says “Self-seeking individualism is articulated in a myriad ways to maintain the dominance of one group or class over another or the dominance of men as a class over women as a class.”
DESIGN METHODOLOGY:
In our research we will be using different techniques of data collection and data analysis. We would be using both traditional and modern method of research and data analysis. We are going to use print media, electronic media and internet for our research. We will also use previous research work in this respect with proper citation. We will also conduct questionnaire analysis for data collection from the people of every gender and age and of every social class. Our sample size would be of 40 people. We will get questionnaires filled from students, children, parents and children. We are planning to interview different artists such as actors/actresses etc. We will interview some old people and teenagers. We will be using graphs and tables in order to present our data in a more illustrative manner which will help us to make certain conclusions.
Analysis of Data:
In simple words commercial and non-commercial theatres can be differentiated by saying that major focus of commercial theatres is to collect and generate money and non-commercial theatres are for non- profit purpose. Commercial and non-commercial is the term introduced after non-profit theatres came into existences which were different from our prevailing theatres.
Commercial theatres in Pakistan mainly exist in Punjab region as well as in other provinces. These theatres have a wide presence across the whole province. Stage dramas are the integral part of these commercial theatres. In past commercial theatres were a big source of entertainment for families but that trend has changed a lot. Commercial theatres have become a source of promoting vulgarity and nothing else. Due to above stated reasons commercial theatres are being criticized by our general public on massive scale. Cracking jokes and exploitation of women has become a major feature of commercial theatres. Language used in such theatres is quite indecent. A very negative image of our society is being presented at the dramas shown in these theatres. Such stage dramas do not portray our cultural values, ethics and morals.
Rafi Peer, Ajoka and other theaters held in different universities and colleges are non-commercial theatres. Such theatres occupy a better position in providing entertainment to the masses. Non-commercial theatres usually highlight major issues and problems faced by our society and involve use of decent and sophisticated language.
As our research is basically the comparative study of commercial and non commercial theatre, we have find that there is a huge difference of language used in both of them. There are many factors which cause this much diversity of language. As both of them entertains two totally different class and the audience from very diverse society and culture. Similarly the creators of these theatres are also from two completely different social and cultural backgrounds. Non commercial theatres generally include the theatre on school, college and universities. And these institutions have their dramatic societies and clubs inside. Other type of non commercial theatres which generally have some social cause, as theatre is a good mean of entertainment as well as giving some good message which generally have deep effect on the heart and mind of the audience. The stage plays of educational institutions are based on variety of topics and generally on myths and novels. As told by Mr Zubair naqvi a very senior stage artist and director that in old ages theaters were performed to please Gods and they were based on ancient stories myths and heroes.
The language used in non commercial theatres and the theatres in institutions is highly sophisticated, advanced and intellectual. Because of the academic sort of audience these plays have advanced and academic language. As far as medium of language is concerned both English and Urdu and sometimes Punjabi are used depending on the script, situation and sometimes the institutions. Code switching and code mixing are generally used in Urdu plays but not in the formal and classical Urdu play like “Anarkali”. There is no code switching or code mixing in the English plays. As these come under non commercial theatres the cost of producing this is low but as far as quality is concerned they have much better quality. Slang words and language could be used in these type of plays. But in some classic English play like “Macbeth” slang language couldn’t be used.
While talking with respect to language there is also a type of theatre which is in fact without language. This type of theatre is called “Mime” in which no language is used but body language is used with some sound or light effects in the background. This is very interesting type because you have to deliver your message to the audience without speaking but with the movements of your body and body parts. In context with Pakistan Mime generally performed in educational institutes and comes under the non commercial theatre. Opera is also a stage activity which generally describes the myths and folk tales but opera is very uncommon and almost not presented in theatres in Pakistan. Now, coming over to the commercial theatres in Pakistan. The language used here in commercial theater is totally different as well as the culture shown here. Around 80 percent of the commercial theatre and stage plays are in Punjabi language. Most of the stage plays are semi musical comedies with involvement of dance factor in them. The script contains many jokes and sometimes vulgar jokes. “Jugatbazi” which itself is a linguistic skill is very common and famous practice of stage dramas. It is the skill of giving humorous taunts or sometimes degrades someone in a funny way. Beside dances and other stage activities “jugat” also contains vulgarity not all the times but most of the times. These stage plays caters and entertains only a certain class of society and having a particular background. Most of the audience belongs to middle and lower middle class. The audience hardly contains any family, people come there as a group of friends and around 90 to 95 percent of the audience is of male. When we talk about the vulgarity issue with the producer Afzal ali a producer of a private theatre he said that people come here for such things and dances and if we will not add some hot dances and vulgar jokes “jugats” nobody will come to watch our drama and we will end up in a loss. Slang language is widely used in non commercial theatres and it makes the script more intresting and dialogues become joyful. Code mixing and code switching is widely used. Punjabi is mixed with urdu and English and sometimes with pushto.
Theatre in Pakistan has been given a professional and commercial face by private production companies that attempt to infuse theatre as a cultural norm in the country. In this respect, the Capital has been exceptionally successful, through the support of the Government and Private Investors, to give a platform to the youth to showcase their talent. 2006 alone saw around eight lavish theatrical productions, and was touted as the year of comedy, as residents of the Capital were treated to a liberal dose of humor and farce.
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.
It has been seen through various surveys conducted in the country that the elite or upper middle class prefers commercial theaters over non-commercial theaters and in order to cater to them many number of theaters that actually reach the international standards.
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 Pakistani society stigmatizes this activity as immoral. Until and unless this form of art is 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.
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.
Hence it can be inferred from the above evidence that Pakistani drama has evolved over a period of time displaying our rich culture and folklore. However the issues existing on moralistic grounds have somehow faltered its image internationally. Lack of management and proper funding is also the reason as to its impoverishment, hence not creating a very commendable repute internationally.
Government has always been blamed for not providing support to the theatres authorities. As discussed before theatres play most important role in providing real entertainment. But unfortunately Pakistani commercial and non commercial theaters have become source of collecting money. Government of Pakistan has established a censor bard which looks after the content and material of plays shown at the theaters. The major function of the board is to figure out any vulgarity or other obscene material so as to get it eradicated from the plays.
During the last few years Government especially the censor board has ignored the theatres completely. Government as a representative of people of Pakistan has a heavy duty to make efforts for making commercial and non-commercial theatres as a real source of entertainment. Pakistan is an Islamic country and its government carries the responsibility to ensure that material in plays shown at these theatres should be according to the Islamic values and morals. Islamic principals strictly prohibit vulgarity and uncouth language. Further more Government of Pakistan needs to ensure that true culture values of Pakistani society are being depicted or not.
Our questionnaire analysis has made clear that eight six percent of the general public are dissatisfied from Government performance.
Talking from another point of view, commercial theater authorities claim slight vulgarity or dances are important in plays as it is demand of the public. While on the other hand non-commercial theaters authorities held Government liable for worsening the conditions of theatres and promoting vulgarity. Both the theatre authorities blame government for creating hindrance in stage plays and performance of artists. Problems and issues pointed out earlier have always led to a confrontation between theatre authorities (including owners, directors and artists) and government. Police has time and again tried to arrest theater artists which further intensify the relation of both of them. Previous governments like of General Zia ul Haq has proved to be a serious setback to Pakistani theatres.
Many of the artists we interviewed have justified the dances and vulgar content in commercial theatre plays. Commercial theatre artists claim that government tries to harass them instead of providing them moral or financial support.
Madeeha Gohar, Director of Ajoka (a non-commercial theatre) says that government is not playing a fair role. She further points out that non-commercial theatres are trying to keep family theatre alive and promote cultural values of our society without support from the government. She blames government for indecency in commercial theatres.
Our research and analysis has led us to believe that censor board (a government regulating authority) has become corrupt and it is not paying heed towards vulgarity and dances in commercial theatres. We think that government has a biased view and it only gives importance to plays which are shown at different arts councils of the country. But this situation has worsened more as government is renting out halls and auditoriums of arts councils for commercial purposes and generating income. Plays which are once supervised by government are no more the same. Huma Safdar in her research article “The Representation of Women in Commercial Theatres.” has said that script of such plays looks like a fill in the blanks paper of school work books.
Reorganization of censor board is required so that it can judge the content and material of plays properly. Government should try to promote family theatre culture by organizing good dramas and plays in arts councils. Government also needs to support theatre activities held in different universities and colleges. Besides this government should also establish halls and auditoriums for theatres in small cities and towns.
According to the article of Professor Kanta Kochhar-Lindgren, (an associate professor at University of Washington), published in ‘Daily Times’ feels that dance is a global heritage and can be used to bring cultural harmony in the world. Dance has always been an integral part of Pakistani theatres, and especially in commercial ones. We can not think of any commercial theatre without any dance in it, neither does any viewer think. The fact has emerged that, for a theatre to earn a good business, it must have loads of dances in it. Many questions emerge in our mind, such as: what is the role of dance in theatre? Can there be a drama doing a good business without any dance in it? What forces producers and directors to focus more on dances rather than giving some moral lessons to general public? Also do people really like and want dances in dramas? And if yes, why people are more interested in watching dirty dances rather than clean entertainment in theatres? Is whole of our society corrupt or filthy?
Dance, as we said earlier, is an integral part of theatre. First of all, we should consider the fact that most of the viewers of commercial theatres are mostly youngsters and they belong to middle or lower class families. Their financial conditions are weak from the beginning and they are attracted towards the easy and cheap way of entertainment by watching Dramas. Also some people belong to broken families, so, they are grown up in such a way that they don’t know the difference between right and wrong. As their minds are not mature, they move to the wrong direction told by others. But what about the older people who are in to the commercial theatres? At least they are mature and they are not living in the world of fantasy. One reason may be that most of the people watching theatres belong to lower class. After day long hardships and intense labor, they tend to ease their tensions and relax. So, they head towards theatres at evening. But not just poor watch these dramas, some rich people and bureaucrats are also involved, as Nargis, a well known Pakistani stage actress, with a talk with Daily Times said that ‘Young men from rich families spend a lot of money on stage plays, even bureaucrats and the so-called educated class love to see commercial theatre’ she added by saying ‘If I hold a dance show and give passes to bureaucrats, they will trip over each other to see it’. This means that not just the poor, whole of the society is included in the corrosion of Theatre.
At every point, there is a good and a bad. So, why people are more oriented towards the ‘Bad’? As they have choice of watching theatres, they can see good dramas which are offered at the same price. This is because of the orientation of Society. The society as a whole is responsible. It’s not just the producers and directors to make filthy drams. The society demands it, and the producers make it. This is exactly what a famous theatre artist ‘Javed Kodu’ told us. He said that only public is responsible for that filthy dramas, and we do it on high demands of people. If people boycott such bad theatres, the producers eventually will make good dramas. ‘Anwar Ali’, a senior artist of theatre suggested that dances in theatres and theatres as a whole should be banned for at least 4 months, so that people thinking and mindset may be changed. Claire Pamment, (Arts council England) in his article says that ‘The audience, traditionally men, flock to see such plays on the basis of its actors, and its dancing girls’. He also says that the government of Gen. Zia-ul-Haq banned dances in theatres. But this is not the ultimate and permanent solution of the problem. Minds of the people must be changed, and non-commercial theatres can help a lot in this respect.
A woman has always been an attraction for men, and producers fully utilize them. They add such material which audience is attracted at, such as vulgar dances, unethical dialogues and sexually attracted costumes. The trend now has changed, rather than making moral dramas, makers of the dramas are more concerned about the profits. By adding vulgar material in dramas, they attract a huge number of people which increases their profits by several folds. They justify their acts by saying that people want such things in theatres and theatre is incomplete without dances. These vulgar dances are more in small cities in which government has less control. Mr. Munir Raj, writer and director of theatres, said that there was no link of drama and theatre long before, now dramas and theatres are merged. He suggested that original theatre should be separated from these vulgar dances. If public really want dances, then there should be separate live performing dances shows and theatre in its original form should be shown to the public.
If producers are saying right about the importance of dances in theatres, then some non-commercial theatres would be in loss. But, in fact they are not. We see many of the non-commercial theatres which are having a good business and are providing clean, socially oriented and culturally ethical dramas without any vulgarity. They are actually the true representation of Pakistani culture and society. The makers of non-commercial theatres focus on family entertainment and not the profits, and in fact more and more people are attracted towards these theatres. They don’t include any filthy dances and unethical words, still non-commercial theatres are having a good business.
According to Daily Times, Nargis (who is well known for her risqué dances) told Daily times that ‘new girls in commercial theatres were responsible for brazen vulgarity and had crossed all bounds of decency’. She also claims that local arts councils are promoting vulgarity in small cities. She also says that she has never performed a vulgar dance. According to the ‘Daily Times’, Khawaja Tahir Jamil (Punjab Arts Council Executive director) said if any arts councils were involved in organizing vulgar in small-city theatres, then the DCO’s of the city should be held accountable.
Here we see that nobody takes the responsibility of vulgarity in commercial theatres, as Nargis, who is seen as a vulgar actress, also blame local art councils. Similarly producers blame actresses for vulgarity and government blames actresses and producers. This blame game should soon come to an end. If there is a need for dance in play, according to the situation, only then they should add dance in it. But, adding dances just for vulgarity is neither good for the producers, or for the audience. In fact, this is projecting a bad and wrong image of our country.
When it comes to discussing the culture of a particular country, at first glance it seems to be homogenous phenomenon. However, as can be easily noticed, culture can be divided into various branches. At least two of them can be distinguished as well-known, popular and those which attract attention in almost every country in the world: Cinema and Theatre. In my composition I would like to compare them by taking into account three main aspects: structure, history and range of the subject matter.
Firstly, both of them are connected with actors play, script, plot, music. Regardless of where we spend our spare time - in the theatre or in front of the cinema screen, each of these points will be present. Obviously they will differ in some aspects such as language used by actors, music which is being played in the background, structure of the plot etc. It is laso worth mentioning the difference between the effort which must be put and experience of the actors when it comes to playing in the movies and in the theatre. I think it is obvious that playing in the theatre requires years of practicing your memory and improving your abilities. In my opinion being a theatrical actor is a bigger challenge than playing in movies.
Secondly, both cinema and theatre have the same history and roots. In the beginning there was a theatre which took its first steps in Ancient Greece. Tragedy, comedy and satirized plays were the earliest theatrical forms in the world. As far as the technology was modernized people were looking for something new, state-of-the-art. In the 1860s the first two-dimensional images in motion were demonstrated. After many years of improving and innovating a lot of breakthroughs were introduced which are altogether called special effects. However, many viewers aren't attracted by them and choose spontaneous, old-fashioned theatre with a specific sense of realism. However, what we have to remember is that both cinema and theatre have the same origin which makes them strictly connected with one another.
Finally one of the many differences between these two art-forms is that cinema has a much wider range of subject matter than theatre which is usually based on literature. Movies present almost every aspect of our life, bring up topics and histories which may concern almost every viewer, unlike theatrical plays which are usually based on literary work; however it is not a rule.
In conclusion theatre has been changing for centuries. Nowadays we can distinguish two main branches: film and theatrical production which are similar when it comes to their roots, origin and structure including actors, music, script, plot etc. However, one of the differences between these two forms is that movies range of subject mater is much wider. Despite similarities and differences, both cinema and theatre have their true followers who are attracted by their originality, charm and entertaining values.
Commercial theatres in Pakistan mainly exist in Punjab region as well as in other provinces. These theatres have a wide presence across the whole province. Stage dramas are the integral part of these commercial theatres. In past commercial theatres were a big source of entertainment for families but that trend has changed a lot. Commercial theatres have become a source of promoting vulgarity and nothing else. Due to above stated reasons commercial theatres are being criticized by our general public on massive scale. Cracking jokes and exploitation of women has become a major feature of commercial theatres. Language used in such theatres is quite indecent. A very negative image of our society is being presented at the dramas shown in these theatres. Such stage dramas do not portray our cultural values, ethics and morals.
Rafi Peer, Ajoka and other theaters held in different universities and colleges are non-commercial theatres. Such theatres occupy a better position in providing entertainment to the masses. Non-commercial theatres usually highlight major issues and problems faced by our society and involve use of decent and sophisticated language.
As our research is basically the comparative study of commercial and non commercial theatre, we have find that there is a huge difference of language used in both of them. There are many factors which cause this much diversity of language. As both of them entertains two totally different class and the audience from very diverse society and culture. Similarly the creators of these theatres are also from two completely different social and cultural backgrounds. Non commercial theatres generally include the theatre on school, college and universities. And these institutions have their dramatic societies and clubs inside. Other type of non commercial theatres which generally have some social cause, as theatre is a good mean of entertainment as well as giving some good message which generally have deep effect on the heart and mind of the audience. The stage plays of educational institutions are based on variety of topics and generally on myths and novels. As told by Mr Zubair naqvi a very senior stage artist and director that in old ages theaters were performed to please Gods and they were based on ancient stories myths and heroes.
The language used in non commercial theatres and the theatres in institutions is highly sophisticated, advanced and intellectual. Because of the academic sort of audience these plays have advanced and academic language. As far as medium of language is concerned both English and Urdu and sometimes Punjabi are used depending on the script, situation and sometimes the institutions. Code switching and code mixing are generally used in Urdu plays but not in the formal and classical Urdu play like “Anarkali”. There is no code switching or code mixing in the English plays. As these come under non commercial theatres the cost of producing this is low but as far as quality is concerned they have much better quality. Slang words and language could be used in these type of plays. But in some classic English play like “Macbeth” slang language couldn’t be used.
While talking with respect to language there is also a type of theatre which is in fact without language. This type of theatre is called “Mime” in which no language is used but body language is used with some sound or light effects in the background. This is very interesting type because you have to deliver your message to the audience without speaking but with the movements of your body and body parts. In context with Pakistan Mime generally performed in educational institutes and comes under the non commercial theatre. Opera is also a stage activity which generally describes the myths and folk tales but opera is very uncommon and almost not presented in theatres in Pakistan. Now, coming over to the commercial theatres in Pakistan. The language used here in commercial theater is totally different as well as the culture shown here. Around 80 percent of the commercial theatre and stage plays are in Punjabi language. Most of the stage plays are semi musical comedies with involvement of dance factor in them. The script contains many jokes and sometimes vulgar jokes. “Jugatbazi” which itself is a linguistic skill is very common and famous practice of stage dramas. It is the skill of giving humorous taunts or sometimes degrades someone in a funny way. Beside dances and other stage activities “jugat” also contains vulgarity not all the times but most of the times. These stage plays caters and entertains only a certain class of society and having a particular background. Most of the audience belongs to middle and lower middle class. The audience hardly contains any family, people come there as a group of friends and around 90 to 95 percent of the audience is of male. When we talk about the vulgarity issue with the producer Afzal ali a producer of a private theatre he said that people come here for such things and dances and if we will not add some hot dances and vulgar jokes “jugats” nobody will come to watch our drama and we will end up in a loss. Slang language is widely used in non commercial theatres and it makes the script more intresting and dialogues become joyful. Code mixing and code switching is widely used. Punjabi is mixed with urdu and English and sometimes with pushto.
Theatre in Pakistan has been given a professional and commercial face by private production companies that attempt to infuse theatre as a cultural norm in the country. In this respect, the Capital has been exceptionally successful, through the support of the Government and Private Investors, to give a platform to the youth to showcase their talent. 2006 alone saw around eight lavish theatrical productions, and was touted as the year of comedy, as residents of the Capital were treated to a liberal dose of humor and farce.
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.
It has been seen through various surveys conducted in the country that the elite or upper middle class prefers commercial theaters over non-commercial theaters and in order to cater to them many number of theaters that actually reach the international standards.
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 Pakistani society stigmatizes this activity as immoral. Until and unless this form of art is 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.
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.
Hence it can be inferred from the above evidence that Pakistani drama has evolved over a period of time displaying our rich culture and folklore. However the issues existing on moralistic grounds have somehow faltered its image internationally. Lack of management and proper funding is also the reason as to its impoverishment, hence not creating a very commendable repute internationally.
Government has always been blamed for not providing support to the theatres authorities. As discussed before theatres play most important role in providing real entertainment. But unfortunately Pakistani commercial and non commercial theaters have become source of collecting money. Government of Pakistan has established a censor bard which looks after the content and material of plays shown at the theaters. The major function of the board is to figure out any vulgarity or other obscene material so as to get it eradicated from the plays.
During the last few years Government especially the censor board has ignored the theatres completely. Government as a representative of people of Pakistan has a heavy duty to make efforts for making commercial and non-commercial theatres as a real source of entertainment. Pakistan is an Islamic country and its government carries the responsibility to ensure that material in plays shown at these theatres should be according to the Islamic values and morals. Islamic principals strictly prohibit vulgarity and uncouth language. Further more Government of Pakistan needs to ensure that true culture values of Pakistani society are being depicted or not.
Our questionnaire analysis has made clear that eight six percent of the general public are dissatisfied from Government performance.
Talking from another point of view, commercial theater authorities claim slight vulgarity or dances are important in plays as it is demand of the public. While on the other hand non-commercial theaters authorities held Government liable for worsening the conditions of theatres and promoting vulgarity. Both the theatre authorities blame government for creating hindrance in stage plays and performance of artists. Problems and issues pointed out earlier have always led to a confrontation between theatre authorities (including owners, directors and artists) and government. Police has time and again tried to arrest theater artists which further intensify the relation of both of them. Previous governments like of General Zia ul Haq has proved to be a serious setback to Pakistani theatres.
Many of the artists we interviewed have justified the dances and vulgar content in commercial theatre plays. Commercial theatre artists claim that government tries to harass them instead of providing them moral or financial support.
Madeeha Gohar, Director of Ajoka (a non-commercial theatre) says that government is not playing a fair role. She further points out that non-commercial theatres are trying to keep family theatre alive and promote cultural values of our society without support from the government. She blames government for indecency in commercial theatres.
Our research and analysis has led us to believe that censor board (a government regulating authority) has become corrupt and it is not paying heed towards vulgarity and dances in commercial theatres. We think that government has a biased view and it only gives importance to plays which are shown at different arts councils of the country. But this situation has worsened more as government is renting out halls and auditoriums of arts councils for commercial purposes and generating income. Plays which are once supervised by government are no more the same. Huma Safdar in her research article “The Representation of Women in Commercial Theatres.” has said that script of such plays looks like a fill in the blanks paper of school work books.
Reorganization of censor board is required so that it can judge the content and material of plays properly. Government should try to promote family theatre culture by organizing good dramas and plays in arts councils. Government also needs to support theatre activities held in different universities and colleges. Besides this government should also establish halls and auditoriums for theatres in small cities and towns.
According to the article of Professor Kanta Kochhar-Lindgren, (an associate professor at University of Washington), published in ‘Daily Times’ feels that dance is a global heritage and can be used to bring cultural harmony in the world. Dance has always been an integral part of Pakistani theatres, and especially in commercial ones. We can not think of any commercial theatre without any dance in it, neither does any viewer think. The fact has emerged that, for a theatre to earn a good business, it must have loads of dances in it. Many questions emerge in our mind, such as: what is the role of dance in theatre? Can there be a drama doing a good business without any dance in it? What forces producers and directors to focus more on dances rather than giving some moral lessons to general public? Also do people really like and want dances in dramas? And if yes, why people are more interested in watching dirty dances rather than clean entertainment in theatres? Is whole of our society corrupt or filthy?
Dance, as we said earlier, is an integral part of theatre. First of all, we should consider the fact that most of the viewers of commercial theatres are mostly youngsters and they belong to middle or lower class families. Their financial conditions are weak from the beginning and they are attracted towards the easy and cheap way of entertainment by watching Dramas. Also some people belong to broken families, so, they are grown up in such a way that they don’t know the difference between right and wrong. As their minds are not mature, they move to the wrong direction told by others. But what about the older people who are in to the commercial theatres? At least they are mature and they are not living in the world of fantasy. One reason may be that most of the people watching theatres belong to lower class. After day long hardships and intense labor, they tend to ease their tensions and relax. So, they head towards theatres at evening. But not just poor watch these dramas, some rich people and bureaucrats are also involved, as Nargis, a well known Pakistani stage actress, with a talk with Daily Times said that ‘Young men from rich families spend a lot of money on stage plays, even bureaucrats and the so-called educated class love to see commercial theatre’ she added by saying ‘If I hold a dance show and give passes to bureaucrats, they will trip over each other to see it’. This means that not just the poor, whole of the society is included in the corrosion of Theatre.
At every point, there is a good and a bad. So, why people are more oriented towards the ‘Bad’? As they have choice of watching theatres, they can see good dramas which are offered at the same price. This is because of the orientation of Society. The society as a whole is responsible. It’s not just the producers and directors to make filthy drams. The society demands it, and the producers make it. This is exactly what a famous theatre artist ‘Javed Kodu’ told us. He said that only public is responsible for that filthy dramas, and we do it on high demands of people. If people boycott such bad theatres, the producers eventually will make good dramas. ‘Anwar Ali’, a senior artist of theatre suggested that dances in theatres and theatres as a whole should be banned for at least 4 months, so that people thinking and mindset may be changed. Claire Pamment, (Arts council England) in his article says that ‘The audience, traditionally men, flock to see such plays on the basis of its actors, and its dancing girls’. He also says that the government of Gen. Zia-ul-Haq banned dances in theatres. But this is not the ultimate and permanent solution of the problem. Minds of the people must be changed, and non-commercial theatres can help a lot in this respect.
A woman has always been an attraction for men, and producers fully utilize them. They add such material which audience is attracted at, such as vulgar dances, unethical dialogues and sexually attracted costumes. The trend now has changed, rather than making moral dramas, makers of the dramas are more concerned about the profits. By adding vulgar material in dramas, they attract a huge number of people which increases their profits by several folds. They justify their acts by saying that people want such things in theatres and theatre is incomplete without dances. These vulgar dances are more in small cities in which government has less control. Mr. Munir Raj, writer and director of theatres, said that there was no link of drama and theatre long before, now dramas and theatres are merged. He suggested that original theatre should be separated from these vulgar dances. If public really want dances, then there should be separate live performing dances shows and theatre in its original form should be shown to the public.
If producers are saying right about the importance of dances in theatres, then some non-commercial theatres would be in loss. But, in fact they are not. We see many of the non-commercial theatres which are having a good business and are providing clean, socially oriented and culturally ethical dramas without any vulgarity. They are actually the true representation of Pakistani culture and society. The makers of non-commercial theatres focus on family entertainment and not the profits, and in fact more and more people are attracted towards these theatres. They don’t include any filthy dances and unethical words, still non-commercial theatres are having a good business.
According to Daily Times, Nargis (who is well known for her risqué dances) told Daily times that ‘new girls in commercial theatres were responsible for brazen vulgarity and had crossed all bounds of decency’. She also claims that local arts councils are promoting vulgarity in small cities. She also says that she has never performed a vulgar dance. According to the ‘Daily Times’, Khawaja Tahir Jamil (Punjab Arts Council Executive director) said if any arts councils were involved in organizing vulgar in small-city theatres, then the DCO’s of the city should be held accountable.
Here we see that nobody takes the responsibility of vulgarity in commercial theatres, as Nargis, who is seen as a vulgar actress, also blame local art councils. Similarly producers blame actresses for vulgarity and government blames actresses and producers. This blame game should soon come to an end. If there is a need for dance in play, according to the situation, only then they should add dance in it. But, adding dances just for vulgarity is neither good for the producers, or for the audience. In fact, this is projecting a bad and wrong image of our country.
When it comes to discussing the culture of a particular country, at first glance it seems to be homogenous phenomenon. However, as can be easily noticed, culture can be divided into various branches. At least two of them can be distinguished as well-known, popular and those which attract attention in almost every country in the world: Cinema and Theatre. In my composition I would like to compare them by taking into account three main aspects: structure, history and range of the subject matter.
Firstly, both of them are connected with actors play, script, plot, music. Regardless of where we spend our spare time - in the theatre or in front of the cinema screen, each of these points will be present. Obviously they will differ in some aspects such as language used by actors, music which is being played in the background, structure of the plot etc. It is laso worth mentioning the difference between the effort which must be put and experience of the actors when it comes to playing in the movies and in the theatre. I think it is obvious that playing in the theatre requires years of practicing your memory and improving your abilities. In my opinion being a theatrical actor is a bigger challenge than playing in movies.
Secondly, both cinema and theatre have the same history and roots. In the beginning there was a theatre which took its first steps in Ancient Greece. Tragedy, comedy and satirized plays were the earliest theatrical forms in the world. As far as the technology was modernized people were looking for something new, state-of-the-art. In the 1860s the first two-dimensional images in motion were demonstrated. After many years of improving and innovating a lot of breakthroughs were introduced which are altogether called special effects. However, many viewers aren't attracted by them and choose spontaneous, old-fashioned theatre with a specific sense of realism. However, what we have to remember is that both cinema and theatre have the same origin which makes them strictly connected with one another.
Finally one of the many differences between these two art-forms is that cinema has a much wider range of subject matter than theatre which is usually based on literature. Movies present almost every aspect of our life, bring up topics and histories which may concern almost every viewer, unlike theatrical plays which are usually based on literary work; however it is not a rule.
In conclusion theatre has been changing for centuries. Nowadays we can distinguish two main branches: film and theatrical production which are similar when it comes to their roots, origin and structure including actors, music, script, plot etc. However, one of the differences between these two forms is that movies range of subject mater is much wider. Despite similarities and differences, both cinema and theatre have their true followers who are attracted by their originality, charm and entertaining values.
CONCLUSION
We have visited commercial and non-commercial theatres ourselves. Our analysis and study has led us to believe that commercial theatres are just a source of promoting vulgarity and generating income. Plays and Dramas shown at these commercial theatres do not depict cultural values of our society at all. Use of indecent language and gender stereotypes are integral part of commercial theatres.
In other words, it would be easy to say that non-commercial theatres are comparatively better then commercial theatres. Non-commercial theatres are playing a very important role in highlighting major issues and problems faced by our society. But commercial and non-commercial theatres require a lot of change. Plays and Dramas of commercial and non-commercial theatres of Pakistan illustrate that the major feature of providing real entertainment to people has been forgotten by directors and writers. Script of Plays and Dramas of both the theatres needs improvement.
In other words, it would be easy to say that non-commercial theatres are comparatively better then commercial theatres. Non-commercial theatres are playing a very important role in highlighting major issues and problems faced by our society. But commercial and non-commercial theatres require a lot of change. Plays and Dramas of commercial and non-commercial theatres of Pakistan illustrate that the major feature of providing real entertainment to people has been forgotten by directors and writers. Script of Plays and Dramas of both the theatres needs improvement.
RECOMMENDATIONS AND IMPLICATIONS:
Theatres play an integral role in providing entertainment to the people and they portray a specific culture and image of society using different languages. Realizing the importance of language in expressing world around us and its use in different fields of life, we have decided to study the different types of language used in commercial and non- commercial theatres, the culture they are promoting and its effect on society. Our study will focus on all aspects from different point of views. We expect that our study will be beneficial to all those who want to bring about a change in theatres.
These steps should be taken to attract more families in the theatre.
There should be proper teaching and training institutions
There should be proper code of conduct and it should be implemented properly.
There should be proper training programs for the artist directors and producer.
Educated people should come forward in this field
Media can also play an important role in monitoring the theatre.
There should be joint ventures of commercial n non commercial theatre.
These steps should be taken to attract more families in the theatre.
There should be proper teaching and training institutions
There should be proper code of conduct and it should be implemented properly.
There should be proper training programs for the artist directors and producer.
Educated people should come forward in this field
Media can also play an important role in monitoring the theatre.
There should be joint ventures of commercial n non commercial theatre.
Appendix A: Questionnaires
QUSETIONNAIRE
Name: Gender:
1) What is your age group?
► 11-20 ► 21-30 ► 31-40 ► Above 40
2) What is your preference in theatres?
► Commercial Theatres ► Non-Commercial Theatres ► Both
3) What type of theatre do you like?
► Comedy ► Serious ► Mime Dance-based/Musical ► Socio-cultural
4) How often do you watch theatres?
► Regular ► Occasionally ► Whenever get a chance ► Never
5) If Never then what is the fact that keeps you from watching theatre?
► Vulgarity ► Theatre Environment ► Obscene language
► Don‘t get Opportunity ► Not Interested
6) In which language do you prefer watching theatre?
► Punjabi ► English ► Urdu ► Other
7) Who is the most dominant gender in Non-Commercial theaters?
► Male ► Female
8) Theatres only target a particular age group.
► Strongly agree ► Agree ► Neutral ► Disagree ► Strongly Disagree
9) Which of the following is/are more thought Provoking?
► Commercial Theatres ► Non-Commercial Theatres ► Both
►None
10) Are commercial theatres working as per the regulations defined by the Government?
► Yes ► No ► Don’t Know
11) Vulgar Dances in Commercial theatre is a way to increase Profits.
► Strongly agree ► Agree ► Neutral ► Disagree
► Strongly Disagree
12) What measures should be taken to reduce the vulgarity in commercial theatres?
Name: Gender:
1) What is your age group?
► 11-20 ► 21-30 ► 31-40 ► Above 40
2) What is your preference in theatres?
► Commercial Theatres ► Non-Commercial Theatres ► Both
3) What type of theatre do you like?
► Comedy ► Serious ► Mime Dance-based/Musical ► Socio-cultural
4) How often do you watch theatres?
► Regular ► Occasionally ► Whenever get a chance ► Never
5) If Never then what is the fact that keeps you from watching theatre?
► Vulgarity ► Theatre Environment ► Obscene language
► Don‘t get Opportunity ► Not Interested
6) In which language do you prefer watching theatre?
► Punjabi ► English ► Urdu ► Other
7) Who is the most dominant gender in Non-Commercial theaters?
► Male ► Female
8) Theatres only target a particular age group.
► Strongly agree ► Agree ► Neutral ► Disagree ► Strongly Disagree
9) Which of the following is/are more thought Provoking?
► Commercial Theatres ► Non-Commercial Theatres ► Both
►None
10) Are commercial theatres working as per the regulations defined by the Government?
► Yes ► No ► Don’t Know
11) Vulgar Dances in Commercial theatre is a way to increase Profits.
► Strongly agree ► Agree ► Neutral ► Disagree
► Strongly Disagree
12) What measures should be taken to reduce the vulgarity in commercial theatres?
Appendix B: INTERVIEW QUESTIONS
QUESTION # 1: For how many years you are in this field?
QUESTION # 2: What is the basic difference between the commercial and Non- Commercial Theaters?
QUESTION # 3: Do you think that the language use in commercial theaters is ethical?
QUESTION # 4: Do you think that the slang language use in the theaters has a bad effect on the youth?
QUESTION # 5: What is the role of dance in the commercial theaters?
QUESTION # 6: Who is responsible for the current form of the commercial theaters?
QUESTION # 7: What steps should we take to improve the standard and reduce the vulgarity in our theaters?
QUESTION # 2: What is the basic difference between the commercial and Non- Commercial Theaters?
QUESTION # 3: Do you think that the language use in commercial theaters is ethical?
QUESTION # 4: Do you think that the slang language use in the theaters has a bad effect on the youth?
QUESTION # 5: What is the role of dance in the commercial theaters?
QUESTION # 6: Who is responsible for the current form of the commercial theaters?
QUESTION # 7: What steps should we take to improve the standard and reduce the vulgarity in our theaters?
References:
Pamment, C. Theatre in Pakistan. Retrieved September 26, 2009, from
www.metisartshost.co.uk/contextheatre/pages/.../theatreinpakistan.pdf -
Safdar, H. The Representation of Women in Commercial Theatre. In Hussain, N
& Mumtaz, S & Saigol, R. (1997), Engendering the Nation- State. Vol. 2. Page 13
To 144. Lahore: Simorgh Publication
Siddiqui, S. (30 June, 2008). Gender bias in films and theatres. DAWN.
Sorgenfrei, C. F. In Encarta Online Retrieved September 25, 2009, from
http://encarta.msn.com/encyclopedia_761595713_6/asian_theater.html
Wikipedia Electronic references. Retrieved September 24, 2009, from
http://en.wikipedia.org/wiki/Theatre
Wikipedia Electronic references. Retrieved November 05, 2009, from
http://en.wikipedia.org/wiki/Theatre_of_Pakistan
Shah, F.A. (08 October 2009). Promotion of theatre and dance may help thwart terror.
Daily Times
Daily Times Electronic references. Retrieved November 17, 2009 from
http://www.dailytimes.com.pk/default.asp?page=story_13-4-2005_pg7_29
Wikipedia Electronic references. Retrieved November 10, 2009 from
www.wikkipedia.com
Jang Electronic references. Retrieved November 16, 2009 from
www.jang.com
DAWN Electronic references. Retrieved November 10, 2009 from
www.dawn.com
Theatre in Pakistan. (n.d.). Retrieved from
http://www.metisartshost.co.uk/contextheatre/pages/indev/theatreinpakistan.pdf
Commercial versus theatre Electronic Reference
.http://www.e-ang.pl/266,Cinema_vs_theatre.html
www.metisartshost.co.uk/contextheatre/pages/.../theatreinpakistan.pdf -
Safdar, H. The Representation of Women in Commercial Theatre. In Hussain, N
& Mumtaz, S & Saigol, R. (1997), Engendering the Nation- State. Vol. 2. Page 13
To 144. Lahore: Simorgh Publication
Siddiqui, S. (30 June, 2008). Gender bias in films and theatres. DAWN.
Sorgenfrei, C. F. In Encarta Online Retrieved September 25, 2009, from
http://encarta.msn.com/encyclopedia_761595713_6/asian_theater.html
Wikipedia Electronic references. Retrieved September 24, 2009, from
http://en.wikipedia.org/wiki/Theatre
Wikipedia Electronic references. Retrieved November 05, 2009, from
http://en.wikipedia.org/wiki/Theatre_of_Pakistan
Shah, F.A. (08 October 2009). Promotion of theatre and dance may help thwart terror.
Daily Times
Daily Times Electronic references. Retrieved November 17, 2009 from
http://www.dailytimes.com.pk/default.asp?page=story_13-4-2005_pg7_29
Wikipedia Electronic references. Retrieved November 10, 2009 from
www.wikkipedia.com
Jang Electronic references. Retrieved November 16, 2009 from
www.jang.com
DAWN Electronic references. Retrieved November 10, 2009 from
www.dawn.com
Theatre in Pakistan. (n.d.). Retrieved from
http://www.metisartshost.co.uk/contextheatre/pages/indev/theatreinpakistan.pdf
Commercial versus theatre Electronic Reference
.http://www.e-ang.pl/266,Cinema_vs_theatre.html
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