Artists argue only audiences can restore family theatre
Dramatists believe the revival of Pakistan’s struggling theatre scene lies less in government regulations and more in the moral compass of its audiences, suggesting that real change will only come when spectators themselves stop rewarding crass humour with applause.
Their critique echoes a new official drive in Punjab, where the government has introduced standard operating procedures (SOPs) that strictly ban vulgar, immoral, or obscene content in theatre performances.
Lamenting the lack of audience intervention when actors resort to indecent or objectionable language on stage, dramatist Inaam Khan argues that only the audience itself can become the true agent of change in restoring a congenial environment in theatres.
In an interview with the APP in Sargodha, Khan was candid about how the public’s complicity has shaped the decline of the art form. “Instead of objecting, people often cheer such behaviour. If audiences began to protest against inappropriate content, stage dramas would naturally evolve into more family-friendly productions,” he said.
Last week, Punjab Information Minister Azma Bokhari announced that the government was drafting a Drama Act that promised not just tighter regulation but also a cultural reset for the theatre industry.
Last month, the Punjab government announced new standard operating procedures (SOPs) for stage and theatre performances, introducing stricter regulations to curb obscenity and ensure discipline in the industry.
The minister admitted that the recent crackdowns had raised the quality of productions, yet complaints were still surfacing. She stressed the need for the theatre to turn its attention to socially relevant and positive themes.
For Khan, however, the downward spiral began when theatre shifted from the guardianship of the arts councils to the bureaucratic control. “That move stripped theatre of its artistic supervision and replaced it with administrative red tape,” he noted.
Coupled with the rapid rise of television and social media, which pulled viewers away from auditoriums, theatre found itself trapped in a cycle of poor standards and dwindling attendance, he noted.
Khan is nostalgic for an era when comedy was clever and rooted in expression rather than cheap dialogue. He hailed the timeless genius of Charlie Chaplin and drew a parallel with Pakistan’s own Munawwar Zarif, calling him “the Asian Charlie Chaplin, whose comedy was unmatched.”
He also paid tribute to Lehari, describing him as a pioneer of a “3D style of comedy before 3D was invented,” a guiding star for generations of performers. Past masters like Rengeela, Nanha, and Ali Ejaz relied on body language and nuanced acting, he added.
Many of today’s comedians “depend solely on dialogue, often lacking depth,” according to Khan. This, he believes, has driven families away from theatres and created space for rowdier crowds that not only tolerate but encourage obscenity.
“The audience, unfortunately, became an enabler,” Khan remarked, “If families reclaimed their place in auditoriums, performers would be forced to lift their standards,” he suggested, calling on the public to act as cultural gatekeepers.
Yet, the government appeared determined to step in with reforms of its own. Bokhari, after meeting senior artists Nasim Vicky and Qaisar Sanaullah, pledged that the new law would be shaped in consultation with theatre professionals themselves.
The Act builds on a recent notification that introduced stricter SOPs for stage and theatre performances. Under these rules, the Information and Culture Department now controls licences for stage dramas, replacing the earlier system.
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