The dictionary defines theatre as the writing, production and performing of plays, while an activist is a person who campaigns for a change. So what is activist theatre? It can mean a broad range of things — from theatre created by specific communities to address pressing local issues, or even theatre that attempts to engage collective interest for issues that are taking place on a global scale. It is a genre of theatre that comes under titles such as political, community-based and popular theatre.

So why use the term activist? Besides adding another term to an already lengthy lexicon, it points to the connection between socially-conscious theatre productions and broader social movements in and around the world. While these theatres and social movements differ in their methods and specific goals, they do have a common concern — opening space in public forums for people whose voices often go unheard. For theatre artistes who engage in activism, a common concern is an exploration of the ways in which the formal qualities of their art form allow them to create discussion about the ways in which important social issues affect the everyday lives of people.

Although some argue that there has hardly been a tradition of theatre in Pakistan, it has always existed in this part of the world in one form or the other. In Pakistan theatre has almost always been a tool to vent frustrations since our society is considered oppressive. Looking at it broadly, we see two kinds of theatre activities — one is theatre with a purpose that is both entertaining and also sends out a subtle message; the other is purely commercial, somewhat crass but popular among the masses and it has been running to packed houses mostly in Lahore and Karachi to a certain extent.

Elaborating on the notion of theatre with a purpose in context to Pakistan, let’s go back to the 1950s and The Drama Guild founded in 1952 by writer/director Khawaja Moinuddin whose Urdu plays dealt with the problems of the migrants from India, and their problems of settling in the new land. Lal Qilay Say Lalukhet Tak and Taleem -i-Balighan are two of his most famous plays that continue to be performed. Then there was Ali Ahmed, a former IPTA (Indian Peoples Theatre Association) member who formed Natak (National Academy of Theatrical Arts, Karachi). He trained a set of actors and his academy was known for political and socially relevant plays.

Theatre activism came into the limelight in Pakistan during the military regime of Gen Ziaul Haq (1978-88). During the era there was an element of cynicism, ejection and hopelessness in society which gave birth to activism. The groups to emerge during those times were Dastak (now non-functional), Tehrik-i-Niswan, Punjab Lok Rahs and Madeeha Gauhar’s Ajoka Theatre in Lahore whose purpose was to struggle for a secular, democratic, humane and progressive Pakistan.

Ajoka and Tehrik’s main focus has been promoting women’s rights and social change. These two groups in particular have been at it for decades now and as Mansoor Saeed of Dastak put it, “The funny part is that all the men seem to have left the field and we have two women doing activist theatre. The only two strong women who have survived the eras and shown their girth time and again by raising their voice against oppression.”

So who is a theatre activist? Sheema Kermani of Tehrik-i-Niswan explains that anyone who uses the medium of theatre for a meaningful purpose is a one. “I believe that culture and cultural activists, the arts and creative media present many opportunities for the promotion of the understanding of human rights, and for forging unity and awareness amongst the people. Dance, music, visual and performing arts serve as an incredible, almost magical means of communication and bonding.”

The question that arises for some is that theatre is a form of art and it has nothing to do with activism. So why theatre? According to theatre veteran Khalid Ahmed theatre in Pakistan proved to be a very effective medium to convey issues. “It all started due to the violation of human rights by the state during the Zia era. It turned theatre groups into cultural bodies as theatre helped in promoting an understanding of various ideas.”

This proves that theatre activism can also be termed as cultural action. All kinds of people all over the world are engaged in cultural action — organising projects, leading community activities, creating new approaches to cultural issues, making imaginative new uses of community cultural resources. They may engage with different issues, work with different kinds and levels of support and opposition, and envision the future differently. But it’s all cultural action which has been taken up in Pakistan by the Tehrik, Ajoka and Punjab Lok Rahs.

In the end, however, the question is does theatre necessarily have to make a social or political comment? Theatre veteran Mansoor Saeed said, “Theatre is not really a revolutionary or political platform that is leading; it just makes an impact on an average mind. Either a person gets involved in political activities and goes to jail or keeps the will to fight against aggression alive by expressing it through poetry, drama, performance or story telling. I see theatre to be a meaningful tool to make a social comment. Even though some may disagree and say that theatre is just a form of art, I think any art form is not merely a form. The writer, director or performer brings in his own thought process and is trying to say something rather than simply blabbering.”

Theatre — an art form, entertainment mode, a voice against suppression, a voice for women’s rights or a tool for activism with some disagreeing with the whole idea of theatre activism — can nevertheless be considered a powerful and magical medium. Whether it is in the form of tragedy, comedy or satire, the idea is to shake up a nation’s collective conscience, make people think, question things and admonish apathy.