Siachen: A new script by Anwar Maqsood1,537 views
Anwar Maqsood’s name is sufficient to collect a mass in theatrical plays. His plays have always a message. A message for the youngsters, his plays provides as nutrition for thought for the 300-plus literary-starved viewers in the crowd throughout every show.
His newest contribution Siachen is no dissimilar.
The play starts with a mother behest goodbye to her Siachen-bound son, a sister proverb goodbye to her brother, a wife sending her husband and a father vowing a football present to his son on his revisit. All alongside the auditory backdrop of Anwar Maqsood’s voice, who articulated their expectations of return. From the departure, the play jogs our memory for the individual price of the battle on the world’s top combat zone.
We travel to a snow-capped crest; where a young, brave soldier conveys a monologue in Urdu, shade with the Pashto pronunciation, about demolish the adversary all alone.
Nevertheless, later on he united by a cluster of new jawans positioned on the Siachen base and the discussion moves to their private lives.
There is no suspicion absent with the viewers that the jawans are extremely nostalgic as their conversation turn around the imminent marriage of a sister, a mother’s letter, and promises with the fiancée.
Alongside, their discussion also impressively set up that loyalty surpasses everything for these sons of the soil. Their motherland gets priority even over their mothers, therefore, prominence the essence of their commitment to the country.
The scene then shifts to a beam switch over between the Pakistani and Indian soldiers regarding a Pak-India cricket match. Every Pakistani soldier gets the twist to comedy the viewer with their amusing banter with their Indian counterpart. The dialogues were traditional Anwar Maqsood.
The actions to pursue incorporated a stay of a young female BBC journalist, who cheers up the temper of the soldiers with her company and ultimately shape a love triangle with the captain and a soldier. In the equal performance, the writer conveys a powerful point for the viewers when the soldier receives a bullet for her.
Anwar Maqsood has also written in the personality of an Indian Behari soldier, who has missed his path, staggers into the Pakistani base camp and befell into a captive of battle. One anticipated that Anwar Maqsood’s satire would have appeared in full strength in this prospect, but the most of its absurdity illustrated from the pronunciation of dialogue utterance rather than the substance of the script.
The other part of the play crowded the right blows, particularly for the reason that its hilarity was not Karachi-centric, like KopyKats’ precedent plays.
Siachen, though, merely paying attention to the day-to-day actions of the soldiers stayed at the crest, their individual facets and their affection for the country. It provided a deep analysis to each Pakistani in the crowd as to how our jawans are giving up for to defense of their country and the countrymen.
Though, the touching scenes in the play unsuccessful in bringing moan to the viewers, regardless of the miserable harmonious score, like they went for the very small interval.