“(Stopping a solemn individual), Hey, Hey, the stunning diva of my thoughts, give ear to my words once, I vow to you that I won’t constrain you to hark me again… Pause…(bafflingly), What I yearn to speak next, I don’t know the intensity of it and what impact my yearnings incited talk would embark on you, and to commence with my ignorance that, the mystery of the word, ‘love”, was undisclosed on me before my breathings started lingering, my soul incepting digging into the seeking of humans’ beauty, and my brain relying on the thoughts glazing with the loveliness of yours after the discovery of your purified and chaste existence.”
“Mom, I need you to note it down in your memory that, I will marry her/him only. Moreover, I will not function in accordance to your commands. Okay?”
“I am leaving you. Indeed, I am divorcing you and furthering my pursuit to marrying my lost love”.
“You’re being assertive in your actions that, means that you are denying your privilege to be in my house. Get out Now”
Have heard declarations resembling to before-mentioned statements? No? Yes? People; don’t be troubled, these are to be explained. Statements alike these can be listened on Television at ease from 7 to 11pm in their fresh and aromatic forms. These are prominent in all television plays of drama industry of ours widely. Before throwing profound light on our contemporaneous drama industry and its dramas, we need to look into the earlier cognizance of word ’Drama’. The Drama is believed to be born in ancient Greece. In 534 B.C., the introductory contest for tragedy was inaugurated or organized in Athens, that’s credited, however, the earliest record of Greek Drama. In furtherance, the Tragedies became eminent there. The earlier literary practices worshipped the Greek god, Dionysus. Leaving behind the Greek Drama and moving on to the current drama, must be the priority of ours.

Our Dramas: After examining a considerable range of dramas, some areas have been detected; those’re in vital need of amelioration. Amounting to those areas, in contemporary dramas, the parents are more inclined to find satisfactory matches for their progeny. Besides, the children, as well, intend to find appropriate equivalents. And the whole essences of dramas, even at their ends, depict such conflicts and crises resulting from one’s or another’s compressing decisions. Thus, they become Matrimonial Dramas. It’s a noteworthy fact that finding suitable parallels are an onerous task for the parents or children but a truth not to unremember is that, there’s an enormous scope of perplexing realities, those need acknowledgement and introduction to our society.
Second, our passion for romanticizing the stories has been the hallmark of our dramas forever. In, William Shakespeare’s, Twelfth Night, one element to heed was to make up “Love Triangles”. A love triangle is demonstrated in two ways: first, when a young, tempting and delightful female is loved by two monsters (males), second, when two flattering and seductive females love a dignified male. In the current dramas, Love Triangle has been very common but evident pivot of submission. “I love you, I can’t live without you, and will die, supposing, I don’t fetch you”, such statements are vociferous in the dramas, whilst the depiction of love. Watching or observing such events show our minds that after marital focuses, the love is focused upon. One thing good to note down or appraise is that the find of godly or spiritual love has been depicted in some truth seeking screenplays, which descends from the apparent natural beauty and ascends to find the eternity. But, the surplus loveliness or amo’rosity disregards such spiritual journeys facilitated by the conceptions of unlawful longings for god to man meet ups.


Third, Characters: There’s a general categorization of characters into two kinds: i. Flat characters (who don’t transform themselves), ii. Round characters (who transform themselves). The characters, displayed in our dramas, are the flat characters mostly, who remain same as the drama ends. Let us brief it. Some characters have been the reservoirs of wickedness through the course of the drama, and all of sudden, they become the suppliers of virtuosity, when the drama serial is about to be ended. Same is the case with, when a character is the promoter of virtuousness and remains the advocate of it at the termination of the drama. The fact to contemplate on here is that the characters aren’t made and focused truly, they are just to complete the story, and their development has been missing always. Additionally, characters are easily induced. It seems that the characters are mad; they are fooled by loose arguments, forged facts and apparent realities. They don’t think and their rational is deteriorating as the calamities speed up themselves. Take a break from the perusal. Think, are we such people who don’t use our brains? We do, if we had not, I would not have been able to jot down this article and you would not have been efficient of reading it. Characters are extremists: some at the apex of iniquity and some at the peak of nobility, no intermediate grounds exist. This must be the sphere of consideration for our directors that thinking must be promoted.

Abbreviating all other findings into one paragraph, Paternal or maternal aunts are found, exacerbating the relations always and spinning the happenings according to their own desires. They scheme intriguingly to harm or destroy a person. A little exaggeration is implied over here in comparison to the realities. Overhearing is the only tool, accessible in disclosing the truth about a character. This factor is in correspondence to Thinking, discussed in previous paragraph, the brains don’t throw facts or logics in fact they impart emotional chatters. Class discrimination is given ample significance, as it’s wrong entity. In reality, it’s not; Allah Almighty created us alike it. Who are we to question his division? We can’t be similar on the account of wealth, living standards, and intellect. It’s His bestowment, don’t tend to interrogate it. Comic dramas become serious ones, rarely producing laughter. The comic dramas do seem like the comic reliefs, appearing in thoughtful stories. Dialogues are very loose occasionally, indeed digressive as to lengthening the duration of dramas. The ends of dramas are marked by Happy Endings always, eschewing to see the realities. But we must see or depict them. The journey has been good? Good.



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