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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