Theatre As a Creative Industry

The positioning of theatre in the creative industry has a strong game. People who are linked to this industry are earning very well. It is making the human soul and body both happy. The art and theatre industries are making a success story in the UK. Film, television, social media, theatre, games and music is giving £110 billion per year to their country. These industries mostly look for the artistic ones to participate in the rising economy of the globe. Consequently, there is much scope for art and theatre in the economy.

 In mature nations there are training institutes that offer training and teaching about the technicalities of performing arts. It is the significant part. A learned and organized theatre makes you form a connection with people and impact their lives by conveying the message in a very subtle way.

The most striking aspect of the course of theatre training is to realize the determination and self￾belief that you can do anything you wish. Performing on stage does not always mean that you need to be vocal and heard. Conveying a message to the audience and communicating with them without talking is something which was worth learning during this workshop. It‘s a common notion that only articulation should be of highest order of importance when you are in the middle of such a setting. On the contrary, the fact is that gesticulation using body language should be effective enough to substantiate your verbosity. 

Numerous aspects of theatre experiences are sensory and tactile. The workshops like these may involve development of flexibility, strength control and ability to use the entire body to communicate a role. They also help those students who are not focusing on performance but concentrating on enhancing their kinesthetic abilities. Theatre also develops numerous social skills. What has been observed personally is that people expressed and negotiated the differences in opinions with utmost calm and composure. They have managed to learn from each other, which is contrary to the conventional classroom learning, interesting correlation. Most of the performances were in teams, be it a team of two people or may be in excess of eight. How to synchronize and compliment others in a play and how to time your dialogue delivery so that it has the desired effect on the audience, were some of the key insights for me as a participant.

Theatre also makes all the participants share their ideas and showcase their creativity in whatever aspect possible. Most of the time, it was observed that people who were not expected to be associated with creativity, surprised everyone by their presence of mind. 

The theatre workshop is opening in different ways, but it breaks some barriers and inhibitions that we had held on to for so long. The training can make the artists more confident, expressive and comfortable. The processes of preparing for a performance help them to experience and value the perspective of other people participating with them. As students endeavor to learn to act, to be involved in the many aspects of theatre, and to entertain audiences with the art and craft of theatre, they are gaining understanding of themselves and others. The workshop also gives a unique blend of team activities that show how important it is to have trust within your team if you want to be a high performing team. Without trust you can never realize the true potential of what you as a team can do.

 Theatre training has five major points, the first is mindfulness. It is all about becoming aware of your surroundings, your co-performers, and the audience. All these require you to be mindful of whatever is happening in the act. A theatre performance is a beautiful blend of different people from diverse backgrounds coming together. Putting to rest their differences, shedding their inhibitions and performing as one while helping each other. This aspect clearly refers to the diversity.

 Making use of the limited resources at your disposal is another learning which could be gathered from this workshop. This refers to sustainability. Theatre also teaches how to put yourself in other shoes and empathize with them. This aspect is very crucial in a sense that if one cannot really get into the character he is showcasing, then he will not be able to do justice to that performance. Hence compassion plays an indispensable role here. And last but not the least, ethics forms the essence of theatre in a real sense. In addition to the learning that is mentioned above, to be successful in life and in the art, adaptability and flexibility is of paramount importance. Theatre teaches people to explore more, face new challenges, and have the ability to adapt with the changing situations.

The Censoring Practices in Theatre

Theatre is an effective way to disseminate the ethical traditions and reason because according to him, live and performing illustrations can leave a long-lasting impact into a mind. Theatre is a special field of art. Almost every county has theatrical art that is associated with the definite culture and ideology. Several features of theatre experiences are physical and tactile. Theatre develops numerous community services. Theatre also makes all the contestants share their thoughts and vitrine their imagination in whatever aspect possible. Generally, it was detected that people who were not likely to be linked with creativity, amazed everyone by their existence of mind. Theatre shows people to discover more, face new experiments, and have the capability to adjust with the moving situations.

 The Curtain Raiser, the emerging youth theatre, has performed on various prestigious drama festivals and has earned a good name in the theatre industry. One of its popular dramas is Sarisht. It is a 60 minutes play based on a true story. The play is about a middle-woman who arranges meetings between clients and prostitutes. The story reveals how her family was forcefully put into the prostitution in partition catastrophe through flash back technique.

 Theatre in Pakistan is always struggling. One of the key factors in this regard is censorship in theatre. The Pakistani theatre has always been subjected to censorship which has affected its progress and positive growth. Censorship in theatre has been present and being practiced since the inception of creative arts. Currently in Pakistan, Censorship in Pakistan is no exception. I believe that there must be a check and balance on the policies and its implementation in respect of Censorship in Theatre. The writer, Director or the producer of a drama must keep in mind the local traditions and norms. He must respect all of them. Many people call for freedom of expression but it doesn't mean that the producers of the play forget the limitations of this art form and people and audience associated with it. Furthermore the state must provide an adequate environment, facilities and training for the theatre practitioners in order to produce positive content in such a way which is acceptable for all segments and cultures of society.

 There are many insights that could lead to conclusions about the social and cultural side of censorship at different stages of the theatre drama production.

 The very first stage of censorship is to appropriate the labels and names that are potent in attracting the audience and masses, often without offending their cultural sensitivities. Next phase of censorship is about dialogues, vernacular, slang and metaphors are important in this regard. These dialogues are conditioned by the context and contextuality is borrowed from the society, however, the willingness of the society to accept the contextuality is conditional. 

Thus the representational challenges are frequently faced during the dialogue creation because it may have positional challenges from religious, ethnic, sectarian, gender, or other perspectives. There are performance challenges where appropriate dress and props require social approval. The symbolic significance and representational contest are at play during this stage. Censoring goes a long way as the performance requires audience and audience might be selected or restricted, this junction of censor practice is visible in theatre culture of Islamabad. Most of the theatres sell or distribute the tickets for their performances to certain cadres of the community. Maturity of the audience is judged. Thus it is easy to conclude that censor is omnipresent in the theatre and it is multifaceted, poly vocal and multi directional.