Until 1947, the theatre of the urban elite in Bengal was centred in Calcutta, the economic and political seat of power of 19th century India. With the creation of Pakistan, Dhaka gained importance as the urban cultural centre of eastern Bengal which later turned into East Pakistan. The theatre of the new country was slowly but decisively moving towards polarisation of two opposing camps: (i) the religion-based nationalists and (ii) the language-based nationalists. The religion-based trend was dominant in the urban areas outside Dhaka. It sought to glorify Islamic history through historical plays on Muslim rulers of the Middle East, India and Bengal, and the independence struggle of Pakistan. Akbaruddin, Ibrahim Khan and Ibrahim Khalil are some of the most prominent playwrights of this trend. The second trend was dominant mainly in Dhaka city and playwrights belonging to this trend were also linked with Dhaka University-based play productions. This trend was pioneered by Natyaguru Nurul Momen. He wrote, published, directed, enacted, broadcast and staged the earliest couple of plays which were secular, non-communal, progressive and international in their themes and plots. The Natyaguru, Nurul Momen's first play 'Rupantor'(Transformation) was a 1942 play which propounded the cause of women's lib and empowerment at a time when even the western world wasn't vocal enough about equal rights for women. Some other important playwrights who followed Natyaguru Nurul Momen in this trend include Shawkat Osman, Askar Ibne Shaikh, Jasimuddin and Munier Chowdhury.
