Crass stage performances

While theatre stages have always had a reputation for pushing boundaries, there was a time when Pakistan's commercial theatre was regarded as a vibrant, if slightly rough-edged, cultural space, where wit and satire dominated the landscape. That is now a lost legacy, as most stage plays have been reduced to lewd, tawdry jokes that are often only an excuse to claim the obscene dances are part of a play, rather than an independent adults-only performance. And while many provocative artists around the world use offensive and discomforting performances as part of their art, what is happening on many of the stages across the country is not art. It is not a social commentary. And while it is provocative, it is not thought-provoking. Such performances cannot wear the label of free expression and be allowed to continue unchecked. Art can sometimes be offensive to certain viewers, but simply being offensive does not make something into art. The vulgarity on stage is not subversive; it is just lazy. And because of this, it is also an insult to actual actors of either gender, but especially women, who face public stereotyping despite having never done anything akin to what is on most commercial stages. The most legitimate critique of the government's response measures is that they include lifetime bans, which can be an overly blunt instrument, especially against younger actors trying to make their way into more reputable productions. Lahore Arts Council's recent initiative to revive script-based, family-oriented theatre is also a step in the right direction, as it will hopefully open up more roles for struggling actors. If we want performers to show their range and reclaim their craft, we must also provide them with fair opportunities to do so. Otherwise, we are unlikely to see a day when people can buy a ticket and walk into a show without worrying whether it will leave them traumatised.