NEPALI THEATRE
Resurrection By Rekha Kusum Regmi in Kathmandu

Very few people would have imagined that Nepali theatre could face the onslaught of all-power electronic media especially the television. But, thanks to the dedication and commitment of young generation of artistes and directors, Nepali theatre is alive and kicking. The 17-day Kathmandu International Theatre Festival that was organised by Gurukul—a leading Nepali theatre group- - in November last year was a testimony to Nepali theatre’s inherent power to resurrect. Despite facing problems like lack of inadequate infrastructure, Nepali theatre artists say they are committed to modernize country’s theatre. And, the basis of their enthusiasm is new found attraction towards drama and theatres among Nepali audience.

“Karnali Dakshin Bagdochha” (Karnali flows South), a play based on the plights of poor youths of Karnali in western Nepal,that was performed at the Kathmandu International Theatre Festival, was able to draw huge number of audience. Nepali media, that is generally obsessed with politics, also took notice of the play and came up with rave reviews. Many youths from mid-western hills of Karnali trek to northern hills of India—described as ‘kala pahad’ by migrant workers-- in search of job every year. The play was so lively that it deeply touched Thai artist Suppameth Maimont who had also come to Kathmandu to offer a play of the topographical condition of his country. “I was greatly impressed by the Nepali dramas. As in Thailand, urban sectors in Nepal have looked down the rural areas the cities have dominated the villages for decades,” Maimont said.

Saying that Nepal’s plays are directly linked with human life, Maimont said Nepali dramas were lively. “They portray the real life of the people.” Besides Karnali Dakshin Bagdo Chha, other Nepali dramas including Aruka Phulka Sapana, Hajurbaka Katha and O Khali Muha Dekhe Chhe took Nepali audience by surprise.“Nepali drama too has come of age,” most of them told us when asked for comment. About 150 artists from eight countries presented their drama reflecting their culture and social problems in the festival. The foreign plays shown in the festival incorporated problems emanating from various conflicts.

Five Indian, three American and one play each from Bangladesh, Denmark, Norway, Thailand and UK were shown in the festival. Each of them was shown twice in the festival.

Attracting Youths

Lately, youths in Nepal are showing an increasing interest in theatrical shows. The huge crowd of youth which turned to theatres during the festival to enjoy any domestic or foreign drama is a testimony to this. “Of the 15,000 audiences who attended the Theatre Festival, 70 per cent were youths,” said Jibesh Rayamajhi, Information Officer at Gurukul. “We should help preserve Nepali dramas. Even by being a mere audience we can help preserve our drama. Keeping this fact in mind, I watched three dramas during the festivals,” said Bijya Regmi from Dang. A large number of foreigners also visited the festival to see dramas from various countries. The Embassy of Norway, Indian Cultural Centre, B. P. Koirala India- Nepal Foundation, The French Centre and Himalayan Distillery had supported the festival.

Gurukul had organised Ibsen International Theatre Festival in Kathmandu in 2006. Dramas from five countries were performed in the 11-day festival. The artistes think that gathering of international playwrights in such festivals help in the development of drama. They also take these festivals as opportunities theatrical exchanges. A large number of Nepali drama have also been staged in the foreign theatres; most of them in India and Bangladesh.

According to festival director Sunil Pokhrel, Gurukul has plans to organize an international theatre festival in every two years. A group of theatre artistes who got organized as Aarohan Theatre Group some 26 years ago not only produced artistes through classes and workshops but also established Gurukul in 2003. Gurukul has been performing regularly for the last five years.‘Doll’s House’ set a record of 169 days’ show in Gurukul followed by ‘Agniko Katha’ which lasted for 127 days.

Though Nepali plays are traditional and their subject matters are not new, yet they are differences because of traditional styles and inclusion of social issues. Non-governmental organisations like Gurukul have been showing and promoting Nepali plays in the international arena. But Pokhrel says it is the duty of the government to promote Nepali drama and theatre. “We have initiated only through a small institute,” he added.