PARDAY KE PECHAY

Abstract

The decline of theatre culture within the twin cities of Islamabad and Rawalpindi signifies a broader erosion of the social and cultural fabric historically embedded in the region's vibrant performance arts. Post-partition, Urdu theatre in Pakistan witnessed a gradual deterioration, exacerbated by the restrictive political regimes, capitalism etc., which stifled creative expression and marginalized the arts. This period of cultural stagnation saw the once-thriving theatres and cinemas, such as Odeon and Plaza in Rawalpindi, fall into neglect and disuse. These venues, once pivotal in fostering community engagement and intellectual discourse, now stand as relics of a bygone era, overshadowed by the encroachment of commercial interests and the lack of institutional support. The revival of these abandoned cinema sites is not merely an architectural endeavor but a sociocultural renaissance aimed at reclaiming the lost moeurs1 (conventions) within Rawalpindi's urban landscape. This project explores the integration of a dynamic theatre and drama school complex within the historical framework of Odeon and Plaza Cinema. Through adaptive reuse and contemporary design strategies informed by principles of context sensitivity, this project aspires to rejuvenate the theatrical arts, transforming these sites into vibrant centers of intellectual and cultural activity. By fostering human expression and community engagement, this intervention aims to restore the essential role of performance arts in shaping societal identity and cultural heritage within Rawalpindi. Parday ke Pechay is a term often used in theatrical jargon in order to talk about things which take place off-stage and are not visible to the audience. It is also used as a casual phrase in the Urdu language to insinuate that there’s more to than what meets the eye. Hence, ‘Parday ke Pechay’ serves as a metaphor which embodies the notion to look beyond the negative connotations attached to the performance arts, by presenting a physical commentary on the backdrops2 and forgotten performers3 in the current commercialized milieu of Rawalpindi.