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Culture (theatre, stage, opera)
Time in Taksindu:
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When mythology mirrors life : Directed by Rajan Murarung and written by Kiran Chamling Rai, Mandala Theatre’s ‘Bakhaamma’ is mystical, mesmerising and memorable, by Anushka Dhakal (kp 12/05/2024)

The battle for identity : Through compelling narratives and symbolic elements, ‘Maasinya’ portrays the harsh realities faced by marginalised communities and their ongoing fight for identity, culture and existence, by Aarati Ray (kp 10/02/2024)

Burdens of the past, let out : ‘Pagla Ghoda’, written in the 1960s, takes on a new life in Mandala Theatre as it explores the tumultuous lives of four characters haunted by their dark pasts, by Anish Ghimire (kp 12/01/2024)

A physical depiction of inner turmoil. Mandala Theatre’s ‘The Rose: An Awakening Journey of Yashodhara presents an unconventional, dialogue-free exploration of Yashodhara emotional rollercoaster following Siddhartha Gautam’s departure, by Manushree Mahat (kp 05/01/2024)

Mental health in the spotlight : Shilpee Theatre’s ‘Awoken Pillow’ examines the topic through a self-aware script, raw acting and beautiful choreography, by Manushree Mahat (kp 10/12/2023)

‘Wedding Album’ dives deep into familial dynamics : Katha Ghera’s newest production looks beyond the glitz and glamour of wedding preparations, by Urza Acharya (kp 07/10/2023)

A portrayal of society, personal struggles and the power of love : Mandala Theatre’s ‘Damini Bhir’ is an adaptation of the Madan Puraskar-winning novel of the same name by Rajan Mukarung, by Anish Ghimire (kp 19/09/2023)

Buddha love of Nepali theatre : There is no dearth of resources for theatre people who want to use Buddha themes for their works, by Abhi Subedi (kp 09/04/2023)

World theatre day and our response : The colossal rise of chaotic political events challenges the theatre people today, by Abhi Subedi (kp 26/03/2023)

Trauma and healing beyond the stage : ‘Content Advisory’, a play on gender-based violence, explores the real life stories of violence and harassment faced by students in and around a university campus, by Deepali Shrestha (kp 10/12/2022)

Theatre, linguistics and politics : The Nepali society is experiencing moments of changes of different orders of significance, by Abhi Subedi (kp 04/12/2022)

Theatre is a powerful tool for social transformation : Indian actor Shabana Azmi talks about the transformative possibilities of theatre and the role of artists, intellectuals and corporates in sustaining them, interview with Shabana Azmi (kp 27/11/2022)

Nepali theatre of the oppressed : The choice of the theatre for creating the effect of resistance heralds a new mode of awakening, by Abhi Subedi (kp 03/07/2022)

Nepali theater beyond Nepal: identity, education, and experimentation, by Monica Mottin (rec 27/06/2022)

Symbolism leads to introspection in ‘Ular’ : Che Shankar’s theatrical adaptation of the novella ‘Ular’ stays true to the essence of the original medium but dares to lean into symbolism instead of realism, by Shranup Tandukar (kp 27/04/2022)

Theatre at its most powerful : 'Khat’, an original play based on Nepal's decade-long 'people's war', has an ingenious set design that allows for a powerful theatrical experience, by Shranup Tandukar (kp 20/04/2022)

Katha Ghera’s adaptation of “Animal Farm” takes a jibe at Nepali kleptocracy : The theatrical adaptation of George Orwell’s satirical novella “Animal Farm”, being staged at Kausi Theater, reflects on the deficiency of a proper leadership in Nepal, by Anushka Nepal (nlt 09/12/2021)

Cultural plays in Nepali theatres : Pachali Bhairab, a cultural play presented by Bajra Kala Kunja in Kausi Theatre, showcased how impactful cultural plays can be. But, such plays need support from locals and the government to continue, by Shranup Tandukar (kp26/11/2021)

Nepali theatre’s dilemma : As Nepali theatres in the Valley come back to life after the lockdowns, foreign adaptations are dominating the theatre scene, by Shranup Tandukar (kp 09/10/2021)

A play that makes you question your own existence : Known for acclaimed plays like ‘Bokshi ko Ghar’ and ‘Milk Tea’, Sulakshan Bharati is back after a hiatus of three years with his thought-provoking solo play ‘Ma’, by Ankit Khadgi (kp 01/10/2021)

An exceptional one-man show : Kausi Theatre’s ‘Harek Babal Kura’ is a heart-warming tale that highlights the issue of mental health with the utmost sensitivity, by Ankit Khadgi (kp 14/09/2021)

Celebration, censorship, and indifference: Nepali theater in the shadow of the state, by Deepesh Paudel (rec 03/08/2021)

Theaters in Nepal: Learning to navigate a new terrain : The revival of theaters is at least two years away, and in that time, they must find a way to stay in people’s mind and survive, by Cilla Khatry (ae 15/07/2021)

Experimental theatre in the time of Covid-19 : A recent virtual performance reminds us of the power of theatre and life, by Abhi Subedi (kp 06/06/2021)

Pandemic takes a toll on Nepal’s theatre community : The majority of theatres in the country have now been closed for over a year and this has left artists facing multiple challenges, by Ankit Khadgi (kp 05/05/2021)

Turning public spaces into stages, theatre artists carry on despite pandemic : In the gloom of the pandemic and rising corruption and crimes, theatre artists are taking on the responsibility of voicing social issues through their performances, by Srizu Bajracharya (kp 13/10/2020)

The problems of Nepali theatre extend beyond the pandemic: Nepali theatre has been struggling financially for a long time. If the condition before the pandemic was poor, it is now dire, by Timothy Aryal (kp 12/08/2020), Light up the stage: For Nepal’s arts scene to flourish, the government must act as a guardian and get the show going (kp 13/08/2020)

‘Territorium’ attempts to break territories of theatre and art: Norwegian artists’ diverse visual performance concert leaves the audience confused, and amazed, by Shashwat Pant (kp 06/01/2020)

Not enough spark in ‘Bhus ko Aago’: The play, currently being staged at Shailee Theatre, has stellar performances but a tottering plot that fails both the actors and the audience, by Ankit Khadgi (kp 11/12/2019)

After a short hiatus, misogyny is back in Nepali theaters: ‘Cha Cha Hui’ is a film about perverts chasing their perversions with an especially perverted item song, by Abhimanyu Dixit (kp 30/11/2019)

Mocking the dance of deathOne World Theatre has once again brought us an exciting theatrical piece, one the  theatergoing audience of Kathmandu should experience firsthand, by Kurchi Dasgupta (kp 23/05/2019)

Where do we go from here? Mita, Ab Kona Chalab questions the Madhes-Pahad conflict through the eyes of an innocent, all-encompassing friendship, by Sachitra Gurung (kp 15/05/2019)

Is Nepal’s #MeToo movement finally taking off? The theatre fraternity’s response to revelations of sexual harassment by several of its members has provided a template on how such behaviour could be handled, by Bhrikuti Rai (kp 11/05/2019)

Vagina Monologues tackles harassment and patriarchy on a personal level: New edition of the play follows allegations of sexual harassment against theatre practitioners, and centres around female actors expressing anger at growing incidents of violence against women in the country, by Tsering D Gurung (kp 26/04/2019)

Better change your scene: The time has come for the theatre fraternity to act to make the stage safer for all, by Deepesh Paudel (kp 18/04/2019)

What is theatre for? Transformation comes by making people feel that they are free, by Abhi Subedi (kp 03/03/2019)

The language of theatre: At the Nepal International Theatre Festival, two plays show that language is no barrier to understanding theatre, by Anish Regmi (kp 01/03/2019)

The curtain rises:  International theatre fest reflects the country’s thriving art and culture scene (kp 26/02/2019)

Reviving an old Tharu story with a modern twist: Karot, the second play in Tharu language, is being staged at Sarvanam Theatre, by Timothy Aryal (kp 26/12/2018)

Dramatic solutions: It’s time for the state to gear up its responsibility in developing and leading the theatre industry, by Deepesh Paudel (kp 04/11/2018)

Life is elsewhere: Khabar Harayeko Chitthi offers new perspective on what is possible within the scope of black-box theatre, by Sandesh Ghimire (kp 15/09/2018)

Rastriya Nachghar and its discontents: Rastriya Nachghar, the one-time hub for the country’s theatrical activities, is seemingly more into making profit than elevating the theatre scene, by Timothy Aryal (kp 18/08/2018)

Bull's eye: Sakeko Tiraula Natra Firima is a great example of how Kathmandu’s theatres are taking Western classics and making it their own, by Timothy Aryal (kp 11/08/2018)

Revisiting revisionist history: Transcending normative femininity is what makes Rajendra Laxmi notable, and we are encouraged to value her because she “acted like a man”, by Abha Lal (rep 14/07/2018)

All the men and women merely players: Nepali theatre struggles to survive even while it stages plays about everyday struggles, by Sewa Bhattarai (nt 29/06/2018)

Coming full circle: Kathmandu’s newest theatre, Kausi, is housed on the terrace of a family home. Here is how the novel project came to be, by Abha Dhital (kp 23/06/2018)

Nepali theatre in transition: Theatre has gained some momentum in Nepal but it’s still far from winning due recognition, by Vinaya Ghimire (kp 20/05/2018)

Scratching the surface: The play Sakhi has all the right ingredients to bring home the message that it was the common Nepalis that suffered during the decade-long insurgency; but fails to leave an indelible mark, by Sandesh Ghimire (kp 21/02/2018)

All the rage: The newly-opened theatre house in Kathmandu, Kunja Theatre, starts with the adaptation of A Madman’s Diary; and director Che Shankar’s rendition is eerily appealing, by Timothy Aryal (kp 24/02/2018)

A quiet rebel: Kashidevi, a play based on Kashidevi Jha, makes for a unique theatrical  experience, thanks to the deft performances and the sonorous Maithali dialect, by Timothy Aryal (kp 20/01/2017)

Theatre reborn: Theatre, as for most segments of the Nepali society, is dominated by the male voice, but a new crop of actors and directors are helping change just that, by Timothy Aryal (kp 31/12/2017)

The road to redemption: Chiso Bhanjyang, an adaptation of British author Ian McEwan’s world-war novel Atonement, byoyed by a poignant narrative and  powerful performance by its cast, might well prove to be a benchmark for contextualising a foreign text in Nepali context, by Timothy Aryal (kp 30/12/2017)

Behind the curtain, by Timothy Aryal (kp 28/10/2017)

Why we play: Having a sound department is farfetched for cash-strapped Nepali theatres,  but more and more musicians are venturing on stage out of sheer passion, by Nhooja Tuladhar (kp 07/10/2017)

Form without substance: Using riveting Nepali dance sequels, Bodhi Chhaaya manages to weave the life events of the  awakened one, but the play barely scratches the surface of the Buddha’s spiritual strivings, by Sandesh Ghimire (kp 23/09/2017)

Tika Pahari marking theatre comeback with Lati ko Chhoro (kp 13/08/2017)

A messy affair: Daraundi ko Paani is a welcome effort to dramatise a footnote in Nepali history, but it comes off as a underwhelming play, one that could have been, by Timothy Aryal (kp 12/08/2017)

Tyranny vs reason: Mandala Theatre’s rendition of the illustrious play, directed by Rajan Khatiwada, captivates at times but suffers several technical shortcomings, by Timothy Aryal (kp 15/07/2017)

‘Decentralising’ Nepali theatre, by Bimal Khatiwada (kp 11/07/2017)

Transiting through life: Saledo, a play currently being staged at Mandala Theatre, tells the story, in a flashback, of a life of a dignified man at cusp of death, by Timothy Aryal (kp 03/06/2017)

From the margins to centre stage: One World Theatre’s The Laramine Project: Ten Years Later brings important LGBTIQ voices to Kathmandu, by Sanjit Bhakta Pradhananga (kp 21/05/2017)

Holistic growth through theatre: The annual children’s theatre workshop ends with the staging of Ma Joker Banchhu (kp 23/04/2017)

The revolution will be staged: Andolan, a play based on the Jana Andolan II, goes on stage in the Capital (kp 12/04/2017), What has changed?, by Timothy Aryal (kp 15/04/2017)

Theatre artists in Kathmandu might be ‘breaking a leg’ before performances but are they also breaking the bank?, by Timothy Aryal (kp 08/04/2017)

Of the oppressed and the oppressors, by Timothy Aryal (kp 18/03/2017)

The devil within: Theatre Mall’s latest production Bed Number 99 brings to the fore issues of mental illness and its treatment, by Timothy Aryal (kp 04/02/2017)

Stages Of Nepali Drama, by P. Kharel (rn 30/01/2017)

Still hungry: First penned in the 80s, the current adaptation of Govinda Bahadur Malla’s Bhoko Ghar asks if things have changed at all, by Timothy Aryal (kp 24/12/2016)

A celestial theatre: Shilpee Theatre’s latest production, Chiriyeka Saanjh Haru, was a promissory note on the future of Kathmandu’s  theatre-scape, despite its shortcomings, by Timothy Aryal (kp 10/12/2016)

A flower on a lake: Following a theatre production in Mugu, by Niranjan Kunwar (kp 15/10/2016)

Looking in, looking out: Examining two recent theatre productions—Thangla and Arjuna’s Dilemma—in the context of Nepali theatre, by Niranjan Kunwar (kp 17/09/2016)

Touching the sublime: Arjuna’s Dilemma is about one significant moment in The Mahabharata transformed into a comprehensive experience of dissonance, ending in resolution and harmony, by Kurchi Dasgupta (kp 04/09/2016)

Bhagvad Gita as opera: East meets West in the performance of Arjuna’s Dilemma at Patan Museum next week, by Smriti Basnet (nt 26/08/2016)

Nepali pastoral: In Khagendra Lamichhane’s play Dant ko Dob, Nepal’s rustic reality—and its socio-economic dynamics—takes centre stage, by Timothy Aryal (kp 09/07/2016)

Theatre Village and the city, by Shiva Rijal (kp 11/06/2016)

A case for communal harmony: The play Kathadesh 3, directed by Aashant Sharma, currently on at Gothale Theatre, depicts two ancient societies and tells us lessons that should be learned from them, by Timothy Aryal (kp 05/06/2016)

She’s a rebel, by Timothy Aryal (kp 28/05/2016)

To thine oneself be true: The Nepali adaptation of the Shakespearean play Hamlet closes at the Theatre Village as the production sets its sight on London, by Rea S. Mishra (kp 10/05/2016)

A Midsummer Night’s Sapana: Shakespeare’s epic fantasy A Midsummer Night’s Dream gets a Nepali rendition, by Sahina Shrestha (nt 01/04/2016)

A new online hub for theatre enthusiasts: The website and mobile app, Theatre Hub, is helping bring together theatre actors and enthusiasts (kp 25/03/2016)

Sarwanam’s Mukti represents Nepal in Germany (kp 23/03/2016)

Anna in the Tropics: With a muted backdrop, strong performances by the actors take centre stage, as several scenes stay with the audience long after they end, by Smriti Basnet (ht 11/03/2016)

Not vulgar. Against violence, by Prateebha Tuladhar (kp 05/03/2016)

The chaos of Ra Mailo: Ra Mailo, a Nepali contexualisation of French playwright Jean Anouilh’s 1967 play, evokes the absurdities of life, by Timothy Aryal (kp 06/02/2016)

No cloistered virtue: A group of theatre artists try to become a part of the surreptitious dealing at Ratna Park to understand the other side of the story, by Erika Bam (kp 23/01/2016)

All the world’s a stage, by Cilla Khatry (rep 22/01/2016)

Galvanising Nepali theatre: The two-day-long seminar saw presentations and discussion on the status of contemporary Nepali theatre (kp 03/01/2016)

Symbols and satire: Sanjeev Uprety’s Makaiko Arkai Kheti is a remarkable play, by Deepesh Paudel (kp 20/12/2015)

Dramatic solutions: Nepali theatre has come a long way in the last decade but it still has a lot more to learn, by Deepesh Paudel (kp 15/11/2015)

Chronicling a legend: BP’s life and works come alive in Sandajuko Mahabharat, by Timothy Aryal (kp 03/10/2015)

Theatre for therapy: Post-quake trauma can be addressed through theatrical mediums, by Abhijan Chitrakar-Phnuyal (kp 19/09/21015)

Speaking truth to power: Singha Durbar ko Tender, contextualised for Nepal by Dilip Ranabhat in his directorial debut, succeeds in distinguishing itself as a well conceived, conceptualised and executed commentary on Nepali governance, by Rachana Chettri (kp 27/06/2015)

Finding healing through theatre, interview with Rajan Khatiwada (kp 05/06/2015)

Quake recollections enacted on stage: Culture expert Satya Mohan Joshi recalls how trees danced in the 1934 quake when he was a teen (ht 29/05/2015)

The show must go on, by Sachi Mulmi (rep 29/05/2015)

Helping the people heal through theatre, by Dayahang Rai (kp 26/05/2015)

NSD staging dramas for quake victims, by Devendra Bhattarai (kp 17/05/2015)

A theatre in transition: In 34 years, Sarwanam Theatre has pushed the boundaries of theatre and brought the art form closer to the masses, by Deepesh Paudel (kp 12/04/2015)

His lessons: Mahesh Dattani’s three-day workshop in Kathmandu had a lot to teach theatre artists, by Deepesh Paudel (kp 22/03/2015)

An earnest show: The Laramie Project on Capital’s stage (ht 08/03/2015), Remembering Laramie, by Rachana Chettri (kp 14/03/2015)

New frontier: There is a great fun in witnessing a play drawn from a foreign culture and presented in a foreign language, by Kurchi Dasgupta (rep 28/02/2015)

Intolerance for hate: One World Theatre produces a play to raise questions about intolerance, by Stéphane Huët (nt 27/02/2015)

Theatre of shattered dreams, by Rachana Chettri (kp 31/01/2015)

Before the curtains rise, by Priyanka Gurung (rep 30/01/2015)

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