I recently had the opportunity to see “A Doll’s House” by Tehrik-e-Niswan at the Arts Council of Pakistan in Karachi as part of the World Culture Festival 2024. As somebody acquainted with Henrik Ibsen’s play, A Doll’s Home, which enlivened this presentation, I went in with a basic eye, inquisitive about how the variation would unfurl in a nearby setting. My husband, who hadn’t read the original, also came along, which made the experience interesting because it gave me two different perspectives on the story. While I broke down the variation, he delighted in it with a new brain, and that differentiation added something uniquely great to the entire experience.
The play, directed by Anwer Jafri, is about Tehmina, played by Naina Black, who lives with her husband Murad in a restrictive marriage. She at first seems blissful, however after some time, she understands that her part in the marriage is like that of a doll — controlled and put down by her significant other. At the point when hidden from her past takes steps to be uncovered, she starts to scrutinize her life and autonomy. She ultimately makes the decision to leave her husband and children in order to find herself, which serves as a symbol for her desire for freedom and self-discovery.
On paper, it sounded good, but in practice, it wasn’t as good.
The good experimental approach The adaptation presented the play almost on a meta-level, which was an experimental move. It got going like a practice, with the entertainers’ spots set apart in front of an audience and characters visiting about their passages while workers gave them props. Although this was an intriguing concept, it could have gone more smoothly with better stagehand interactions. The props could have been more symbolic, expressing the emotional struggles of the characters and giving the rehearsal concept more depth.
Another cool thought could be having the entertainers turn the pages of their contents during the exhibition. The characters’ journeys and the ways in which their choices shape their identities may be reflected in the pages becoming torn, stained, or altered as they progress.
This idea had a lot more potential and could have been expanded to give the play a new dynamic.
Nuanced take on class contrasts
One of the champion minutes in the play was a strong cooperation between Sheema Kermani’s personality Sakina and the female lead. A wealthy woman complains to a poorer woman in this scene, which leads to a thoughtful conversation about their different lives.
What made it truly unique was the way it featured class contrasts, particularly when Sakina discussed the challenges of getting medical care and essential necessities for the poor in Pakistan contrasted with the rich. We got a real look at the challenges faced by women of all backgrounds during this conversation, highlighting the harsh realities of inequality in accessing essential services. It was a stark reminder that women frequently wage similar struggles for respect and dignity regardless of their circumstances.
