Women’s participation in Bangladeshi urban theatre is not yet satisfactory although a remarkable number of women are coming to theatre each year, seasoned women theatre activists think so. They believe that family responsibilities and social insecurities are the major bars for women to be dedicated to theatre.
Moreover, they sometimes do not get enough scope to prove their talents, said young activists. In most cases, these young women are engaged only in acting and yet to make name for themselves as seasoned actress. The number of women directors, playwrights and designers can be counted on fingertips. They are not seen in the leadership as well.
‘We had to create a ground for other women to come to theatre, which was looked down upon in society in our times. However, women even in these days face many constraints, especially from the family, to continue theatre activities,’ observed Ferdausi Majumdar, one of the pioneers of the neo-theatre movement after the country’s independence in 1971.
According to Ferdausi, in most cases it is not the parents, rather the close relatives, who create obstacles for women. ‘And after the marriage, the constraints are even more since they need to bear family responsibility,’ she told New Age. ‘Even when both the husband and wife are theatre activists, the wife cannot concentrate in rehearsals as she must think of her children’s needs first. Since most of the families are nuclear, they do not have luxury of getting help from other members of the family.’
Traffic jam, social insecurity and in many cases the conveyance expense are common problems for women to attend rehearsals regularly in the evening, said Ferdausi. Pointing out similar observations, her peer Sara Zaker said, ‘It’s really difficult for a woman to convince her family to allow her theatre activities, when it is less so in case of TV plays since the latter one offers nationwide fame and money as well.’
‘Due to many obstacles, young activists don’t continue theatre, and those do it are basically engaged in acting. I cannot remember many names of women directors, designers and leaders. Actually, they don’t show interest to get the positions of power in theatre,’ said Sara, the only woman who was the chairperson in the past 30 years of the BGTF.
Seasoned theatre activist Lucky Enam observes that unless professionalism is introduced in Bangladeshi theatre, it would not be possible to ensure their participation in every sector of theatre.
‘If theatre practice cannot even pay the activists’ conveyance, it will not be possible to continue theatre, let alone ensuring women’s participation. Moreover, efforts should be made to make theatre attractive to the wider range of audience where theatre activists can feel it a matter of fame and respect,’ Lucky said.
According to Lucky Enam, theatre leaders and troupes should take the matter seriously to initiate motivational activities for ensuring women’s participation in every sector in theatre.
New Age talked to two young women theatre activists of these days who admitted that they faced obstacles directly or indirectly from the family. They also believe that lack of professionalism within the troupes sometimes kills motivation of the young activists. They, however, declined to be quoted as such statements might damage their career.
News Source: The New Age