By: Nasir Jamil
As the world marks World Theatre Day on March 27, Pakistan’s theatrical heritage finds itself at a crossroads between revival and persistent challenges. Established in 1961 by the International Theatre Institute (ITI), the day serves as a global celebration of theatre’s role in cultural exchange and social dialogue. In Pakistan, where theatre has oscillated between vibrant artistic expression and periods of decline, the occasion prompts reflection on its journey and the path ahead.
The country’s theatre tradition, influenced by folk performances, classical South Asian theatre, and the Progressive Writers’ Movement, gained momentum after independence in 1947. Institutions like the Lahore Arts Council and the Pakistan National Council of the Arts (PNCA) played an early role in promoting stage plays. The 1980s and 1990s, despite political restrictions, saw a golden era with artists such as Moin Akhtar, Umer Sharif, Anwar Maqsood, and Shoaib Hashmi blending satire, comedy, and social commentary to captivate audiences.
However, the 2000s brought a period of decline, as government censorship, the rise of electronic media, and dwindling financial support made it difficult for theatre to thrive. Despite these setbacks, groups like Ajoka Theatre, Tehrik-e-Niswan, and Napa Repertory Theatre persisted with socially relevant performances, keeping the spirit of live storytelling alive.
Recent years have shown signs of revival. Post-pandemic, independent theatre groups and university drama societies in Lahore, Karachi, and Islamabad have been drawing renewed interest. Digital platforms have also expanded theatre’s reach, blending traditional stagecraft with modern technology. This resurgence aligns with the theme of World Theatre Day 2025, “Theatre for a Changing World: Voices of Inclusion and Transformation,” emphasizing the art form’s role in societal discourse.
Across Pakistan, theatre groups and institutions are commemorating the occasion with performances, workshops, and discussions. The Alhamra Arts Council in Lahore, PNCA in Islamabad, and the Arts Council of Pakistan in Karachi are hosting live productions, while academic institutions such as NAPA, LUMS, and BNU are engaging students in theatre programs. Community-based street theatre performances are also scheduled to spread messages of peace, equality, and human rights.
Despite these efforts, significant challenges remain. Financial constraints continue to limit productions, with little government support and rare corporate sponsorships. Censorship and restrictions on artistic expression pose risks for those addressing sensitive political or social issues. Additionally, changing audience preferences, particularly among younger generations drawn to digital content, require theatre makers to adapt their storytelling methods. Infrastructure issues further hinder accessibility, especially in smaller cities and rural areas.
Looking forward, the integration of digital theatre and hybrid performances is seen as a potential avenue for growth. Online platforms such as YouTube and Facebook Live are offering new spaces for theatre, while collaborations with international festivals could provide Pakistani artists with greater exposure. Expanding theatre in regional languages and revisiting the works of literary figures like Saadat Hasan Manto, Ashfaq Ahmed, and Bano Qudsia may also help connect new audiences with Pakistan’s rich theatrical heritage.
World Theatre Day 2025 serves as a reminder of theatre’s enduring power in Pakistan. While challenges persist, the art form continues to be a medium of resistance, cultural preservation, and social commentary. With the right support and audience engagement, Pakistani theatre can reclaim its place as a thriving and influential part of the country’s artistic landscape.