Written by: Shahnawaz Ramay
Posted on: October 22, 2019 | 
| 中文
Wafa (Alina Chaudry) speaking to Ranja, one of her statues
People of Islamabad and Rawalpindi were treated to a visual spectacle of Urdu theatre on Saturday, at the Pakistan National Council of Arts (PNCA). Wafa ke Putley (Wafa’s Personification) was written and directed by Tasweerkhana Dramatics owner, Ahmed Habib. The play focused on themes of tolerance, love and the promotion of arts & culture, to which Habib is deeply invested.
Habib began Tasweerkhana in 2003, as a place for non-commercial and non-political artists to come together and create art. It is deeply focused on nurturing the artistic talents of young people from all walks of life. The company does not just want to cultivate talents and give people creative outlets to express themselves. It also aims to highlight social issues, through original, avant-garde, non-European pieces and performances.
The play focuses on the journey of a young artist named Jaazi (played by Usman Hidayat), who, within the play, is in the process of creating art pieces for an upcoming show. Jaazi is depicted as whimsical, carefree and a laid-back young man, who expresses himself through his art.
Many of the characters inquire of his latest creation, while he works on a masterpiece hidden from the audience’s view. Every now and then, he would slip away to work on it, and recite a few poetic verses in admiration of his piece. However, it does not come off as arrogant, rather a genuine love for the pains and processes of creating art.
‘Wafa ke Putley’ quickly moves to more focused themes of social commentary with the introduction of a sleazy plumber Akhtar, and the overzealous Siddiq Sahib, Jaazi’s landlord. The latter and Jaazi have a heated argument on the ethics of Islam and the sin of drawing figures. This exchange sets the tone for the rest of the play, and how society looks down on arts, culture, preventing young and talented people from pursuing their dreams.
The Saint (Waqar Azeem) on the Left and Moorakh (Amir Khan) on the Right
The plot and the script focus heavily on metaphorical imagery and dialogue to portray emotions and the inner workings of the mind. The titular character, Wafa (Alina Chaudry), is Jaazi’s piece come to life, who in turn creates more statues, until they kill her for casting them aside.
Complimented by the props, lighting, sound effects and makeup, the actors appear to perform. in an effortless manner, in the roles assigned to them. The use of clever visual effects and lighting succeeded in creating suspense and drama.
Towards the climax of the play, the audience sat transfixed, impatiently watching as the play gets darker and grittier. The last scenes are a roller coaster of emotions that attempt to encapsulate the very human feelings of love, hopelessness, betrayal, anger and frustration. The audience was stunned by the ending, as the complicated plot left more loopholes than resolutions and answers.
Wafa (Alina Chaudry) surrounded by the statues
Tasweerkhana managed to combine the magic of young actors, good directing and smart blocking technique to convey complex human emotions within the theatre space. Unfortunately, the supporting characters came across as more natural in their delivery, and more charismatic in their stage presence than did the leads. However, everyone was given equal time in the spotlight, and the cast worked well as a coherent whole.
Talking to the crowd, Habib revealed how Tasweerkhana was something he dreamed of 17 years ago, and it is only now that he has finally managed to see his dream materialize. He believed that in an age rife with differences and conflict, it is imperative to remind people of the need for tolerance and understanding. We can expect more interesting productions from Tasweerkhana, and with ‘Wafa ke Putely’ we got a taste of what’s in store.
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