Despite the unhappy attitude of the almra office staff, the popularity of my play “Zoo” inspired me and I began to write another play. There must have been many comedy plays before “Zoo” but in Almora. The tradition of serious dramas was high, some time ago Bakhtiyar Ahmed presented a very serious play but the introduction of serious play seemed to challenge the “box office” and now the attraction of comedy plays was on the rise. That is, the popu lar stage was coming into being.
Kamal Ahmad Rizvi once said to me, “Athar, you are fortunate that some people like me have already paved the way for the play otherwise I have also seen the time when people send free passes to houses. They were requested to come to see the play.
Kamal Sahib was right, Almra had fame due to the fanatics like him on stage, otherwise it was with the help of al-Hamara that the rehearsal was probably bestowed in the hall a couple of days ago. Even so, the rehearsal was difficult and the rehearsals of the plays were often done on the grass, but in spite of these unforeseen circumstances, the dramatists made very short preparations.
Now artists and writers were gradually becoming more professional and why not? Most writers and artists were highly educated and belonged to good families. Among the girls associated with the stage, Samina Ahmed, Painful Bit and a few more girls were also read. If all of these people were working or doing their business, they could earn a lot from the stage. But it was their love of the stage that kept them in chains they could not see.
In those days the pay was very low, Muhammad Qawi was probably the first artist who increased his pay due to his great popularity and paid this incremental amount of work for a month continuously ?? Once strong he was very proud. Told me “I’ve been to the whole five, I will not take any less”.
Reuters’ compensation was something like that, when I wrote my second play “Auf”, my producer Shahid Parvez said: “Athar Bhai: Your destiny is going in great force, taking the whole seventeen bucks, they Also cash “.
It is better to say that Rs.1700 includes writing and acting along with the writing
To get the “Af” date from Alhamra, I turned “Oops, sorry”. It would certainly be unfair to blame all of the problems of the administration at this time, even though the careless chief may know of many difficulties. You would not have been more loyal to the King than the King.
Before me, Kamal Ahmed Rizvi was also tired of trying to get a date in Alhamra. The al-Mumra were also forced to make plays and the hall was just one. They were so small and so few seats that people could visit this hall. He used to say “Omni Bus” and even if a successful play lasted even a month, the expense would have been difficult. Kamal Ahmed Rizvi was desperate to find a new place for the stage and he got it.
“Wapda Auditorium” was a new one, very magnificent and big hall, Kamal Sahib performed his play there and like his other plays he was very successful.
My producer Shahid Parvez got the Wapda Auditorium up to date very easily. I presented “Off” there and the drama was received by Audience with such a great and unique experience that people started blackout tickets outside the hall.
As a director, my hard work and interesting script will also be involved in the success of these plays, but I found the team of artists very good and Mohammad Qavi Khan, Ali Ejaz, Nina, Afshan, Sajjad Haider, Siddiqa Butt, Neghat Butt. , With the help of artists such as Masood Akhtar, Zubair Khan, Munawar Saeed and Khalid Abbas Dar, and formations had a great influence on the brilliant.
In my two plays, Kamal Ahmed Rizvi also acted as an actor. At that time, Khalid Salim Mota, Hamid Rana and Jameel Fakhri were struggling to get ahead in the world of art. All three worked in almost every play I played. Thanks to his hard work, dedication and ability, he soon made his mark in front of senior artists.
How sincere the senior artist was with his art at that time can be gauged from the fact that the famous film artist Aslam Pervez was cast in my play “Danger 440 volts”.
The next evening was the first show of the drama and the final rehearsal was underway on the night that Aslam Parvez Sahib’s nose was mistaken, an injury to his neck and a lot of bleeding, obviously he did not play the next day. Sorry, they went to the doctor and me and my producer started seeing each other with great difficulty, this role was so difficult that only Manwar Saeed could do, I sent the producer to Manor Saeed’s house, Tired of arriving home shortly before the shooting, two nights of awakening, Thamgar came to call me even in this bad state.
If he wanted to, he could have increased his pay a lot, seeing me and the producer’s compulsion, but he was a real artist. Done Then he gave the forensics on such a thing that it was missed and when the claps continued ringing after the show ended, I hugged Manur Saeed.
Bano Qudsia was senior to me in stage plays of this time. His play “Coming Soon” was a very good play; Kamal Ahmad Rizvi was also a senior writer to me and he played many English dramas beautifully. Naeem Tahir Sahib was in the throes of it, but some more writers were desperately needed in the comics, Rashid Omar Thanhvi, Atiqullah Sheikh and Saleem Chasti were my contemporaries among the new writers. Asif-ur-Rehman, Munir Raj, Iftikhar Haider, M Sharif and Sajjad Haider were knocking on the stage fame, soon after Has achieved the hnt.
Another writer came down on stage shortly after doing poetry for many days, he was a Amjad Islam Amjad, as good as he was doing poetry, he wrote beautiful plays. Sajjad Haider was not only a writer but a writer. Also good, he performed very well in my plays as well as several Punjabi plays himself. Among the directors are Naeem Tahir, Kamal Ahmed Rizvi and Bakhtiyar Ahmed, considered very classical and strictly directors. It was not possible to break away from the original dialogue or to make a slight reduction in the Moves, however these days the writer and director Tram was a custom.
Personally, I had the privilege of working as an actor with Mr. Nazir Ziaghm and Ishrat Rahmani in soft hearted directors. Najir Ziaghm was a great friend to most of the directors, Ishrat Rahmani was elderly but very heartbroken. Hi soft In terms of moose, he would give the actors open leave.
For a long time in the early days he was presenting my written One Act Play “Panjara” in the Arts Council, which included actors, until that time I received the Graduate Award as the “Best Director” and many other prestigious awards. But my theory was that when I strictly follow the motifs I made as a director, I should fully follow his instructions while working under another director.
The first entry in the “Panjara” was my first set, the set was three doors, the first day for the first rehearsal I climbed the stage and Ishrat Rehmani sitting in a chair in front of the pavilion asked “Which door? To come Sir? “He sat there and said,” Sir, there are three doors, come from anybody! “The director’s success involves a great deal of good” vice-director “in addition to good artists, one of my two early plays. As auxiliary, he was not familiar with the requirements of modern play and the technique of writing Moves and made the whole page forgotten by the lines and arrow keys.
I was looking for a good assistant and one day I got a very good assistant. He was a Zubair Khan – Zubair Khan was a highly educated boy and joined my team as an actor. I realized that he had the essence of being a trusted Deputy Director. Most of the time. The deputy directors used to make arrows, and they did not even know the basic terms like upstage and downstage.
Before the rehearsal started in a play, I made a sketch on the paper and told Zubir Khan the names of these sections along with the different parts of the stage and told them the correct way to write the movements. Zabir’s English was very lively and it was difficult for him to write Moves. The next day before the rehearsal I saw that he had written the previous day’s movements correctly and remembered the first lesson well, then the same happened with Zubair, “He did not get leave. Who remembered the lesson “.
As long as I lived in Lahore, he stayed with me. He was not only a good actor but also a very good and perfect assistant. If he did not become an officer in Alhamra after my departure from Lahore, one of the most successful and famous directors today. The success of my dramas involved not only the hard work and love of the supporting actors and good assistants, but also the producers envy.
After moving to Wapda Auditorium, Shahid Pervez became a partner to Naveed Alam. Naveed Alam had a publishing job and he had also produced a few plays before. He was a very nice and lovely man, but in times of need for drama, he was a bit boiling over. While Naveed Alam did his job very responsibly, he was familiar with the skill of publicity and was also sharp in administrative affairs. He worked very hard in production, he gradually became a closer friend of mine than producer, this love affair remains intact.
Sometimes I consider myself fortunate to have found so many good artists, producers and partners. They are still my publicity department thanks to my interviews and discussions. I was chanting slogans and Jameel Fakhri had a “play card” hanging around his neck that read: “Vote for Athar Shah Khan” sincerely, friendship and love and who says ?? By virtue of the tremendous convening of his peers, he became the Vice President of Artist Equity with the overwhelming majority.
All the successes I received were the result of teamwork. I am grateful to all my friends in the past. And yes, when I came from Lahore to Karachi in 1975, the next year I went to Lahore.
In the year there was a big seminar on stage play which also featured a historical brochure which wrote the names of the major contributors for the promotion of the stage play, but it was Athar Shah Khan who got 12 numbers for act one and three for the stage. Write and instruct the 10 most successful “Original” plays of the Act, namely 22, which was not mentioned in this brochure !!