Representing story or fact, from the inception of the history of women participation with song- dance- music- acting, was highly practiced and appreciated in the houses, fields, regions and villages of continual Bangla. But from the 17th century, a juncture of mediaeval and modern period, in a newly flourished urban culture influenced by British culture, the participation of women characters remained quite opposite. Moreover, the incidents occurred in the eastern countries were extremely resourceful. In 1619, women participation was strongly prohibited in Kabuki dramas in Japan. Many centuries ago from the above mentioned time, these dramas were originated in ‘Kioto’ by a performer named ‘Okuni’ who publicly showed an occasional dance. Moreover, in Chinese dramas women characters were strictly prohibited to perform. To Eugenio Barba, gender discrimination plays a very minor role in casting the characters. Barba certainly states that male and female characters are not essential in representing masculinity and femininity. Gender discrimination is not so important in artistic expressions. Because so called masculinity and femininity do not exist. According to Barba, there are physicality and sensuality in every human being. And by these two forces, an artist, in fact, through his /her physical gestures, acts in a role which we see as male/female character.The theatre that is seen today in a room or in an auditorium in the cities and towns of Bangladesh is totally western influenced. Now actresses and female audiences are not a problem in this westernized stage for rehearsing, representing and displaying dramas of the theatre groups and theatrical institutions of Dhaka city. The distinction between the situation of today and that of urban life in Dhaka is great. Though the participation of women in dramas in the smaller regions of the country is still like the situations of the past. This study investigates the sources, references, development and the continuity of the participation of women in western influenced theatres of urban Dhaka.
Keywords: Stage; Performance; Aesthetics; Movement of Women Emancipation
