The current political setup in the country like many of its predecessors has no other solution to offer to the perceived controversial, cantankerous and debatable issues than to ban them. The worst sufferers are the performing artistes whose source of work and income is curtailed at once and they are literally forced to walk the street.
It has been reported that various theatres in the country have not been allowed to stage plays and many have been banned on moral grounds.
In Gujranwala, for instance, a few years ago there were nine theatres halls that were fully functional and nine shows were held every evening nearly 365 evenings of the year. So popular were the theatre plays that three of the cinemas too were converted into theatres halls but now all have been shut down. The plays were banned on charges of obscenity and nearly 1000 persons associated with the profession are now sitting at home seeking odd jobs which neither suit their temperament nor match the skills they have acquired.
Some years ago YouTube was banned and despite news flashing in the press or in the statements of those in power of it being lifted, the ban is still intact causing so much harm to the society by the lack of opportunity to interact with the outside world.
The worst sufferers have been artistes from Khyber Pakhtunkhwa province because no activity has resumed in all these years. During the MMA government, all singing/dancing and plays were put an end to by a decree. In the next government of the Awami National Party, feeble attempts were made to restore some kind of cultural sanity to the social life of the people but the government was too occupied with the security situation there. The present government does not have culture high on its priority list and seems to be engaged in other matters than tend to arts in the province.
The usual charge that is framed against theatre groups is that what is shown on stage is vulgar. Obscenity is one of the pet phobias of this sanctimonious society and in our hypocritical stance we appear to be more religious than the pope.
The question in the end boils down to that of quality. It is true that much of what is shown on stage is crude and raw but the answer to this is not its elimination by imposition of a ban. This easily results in the activity going underground and shielded from the public eye of scrutiny. And there it can tend to get not only vulgar but sinister as well. The answer is for the theatre to improve its quality by allowing it to happen.
Where vulgarity is concerned, the "Talk Show Theatre" serves as a good example. All the characters shout at the top of their voices at the same time brandishing self-righteousness. A successful player needs ready wit, improvisation and repartees and not measured reason. The volleys in the slanging match are loaded with accusations. It is the subversion of the ‘malamati’ tradition. While in the malamati ethos, the denunciation was of the self to negate the ego completely -- in this the patterned invective of denunciation are aimed at others, inversely proving the self to be purer than virgin snow. It is cyclical play divided in scenes and acts with the thematic content of the pot calling the kettle black.
This popular theatre has some virtues and it should not be condemned consistently and damned all the time. It is the only theatre that is not only self sustaining financially but has made the people associated with it rich as they now do not have to wait for a richshaw to go home late at night after the show or seek financial support when taken ill.
All the television channels, all popular shows are now being creatively controlled by the comedians who had first made their name on stage. They unleash the same unrelenting tirade and lampoon, the hallmark of that theatre, and due to their popularity even the highest office holders of this country accept with gratitude when invited to such shows.
People want entertainment and release.