If literature is the mirror of the society, drama is its reflection,” believe members of Pratiwimba Theatre Laboratory, Pokhara who recently participated in the Bharat Ranga Mahotsav 2005, organised by National School of Drama (NSD), New Delhi. Anup Baral, Founder President and Artistic Director of this theatre group, presented a Nepalis play ‘Khuma’ at the festival. The play was the dramatisation of the short story written by Mahesh Bikram Shah. BP Koirala India-Nepal Foundation and the Embassy of India sponsored the participation.

Excited about the participation, Baral shares his experiences of the festival. “It was a good learning experience as well,” he says. Apart from ‘Khuma’, he also got an opportunity to be one of the five directors from Asia who collaborated in ‘Memoirs of a Legend’, a play on the first Mughal emperor — Babar. The experimental production made an extensive use of multimedia and created a powerful effect. All the participating countries had used their own languages. The reviews Baral received in India were overwhelming which prove that his team performed its part really well.

There were altogether 54 plays staged in the festival and Baral and his theatre group was able to make a good impression to the Indian audience. “Among other Asian countries, we may be poor in theatrical infrastructures but from the artistic point of view, we are no less, or, even better at times,” claims Baral. He considers this as a remarkable achievement and a matter of pride that despite the lack of proper theatrical infrastructures and facilities in the country, theatre artists, though few in numbers, are showing their immense talent in artistic productions and slowly gaining wider exposure. He also adds that it is true that the number is few, but the qualities of the works produced are vital, original, effective and, no doubt, modern.

He, however, emphasises, “We must have proper mechanism and subsidisation from the government. Since achievements in any form of works of arts is associated with civilisation, they need to be developed and preserved.” Also, he points out the need of quality playwrights in this field and does not forget to name Abhi Subedi and Saru Bhakta as good playwrights in the country so far.

Though Nepalis theatre groups have been working in the country for long, in terms of exposure they are hardly recognised. But in recent years, people from all walks of life have shown tremendous interest towards theatre and plays. Baral says, “Nepalis theatre is in the process of proving the audiences that they are worthy and could make valuable contributions to the society and country. They want to show the audience that plays could equally be a source of entertainment for them. We are getting a good media response and promotion from various sectors. This is a sign of positive growth. Our audience is now wider and varied including school and college students, and middle class people. So theatre indeed has a better future ahead”.

Having a strong belief that a work of art has the capacity to change the society on many aspects, he presented the current Maoist problem in the theatre and pointed out its follies. He believes, “Theatre can be used as a weapon against the social ills. The artist should be able to use art forms as means of arguing social issues”. The evil of both Maoist and state injustices in all its varieties are exposed through his play. At the same time the dreams and desires of a young girl and insights into her character and feelings have made the play more powerful in its meaning.

Owing to insurgency, disappearance and killings have become the basic facts of Nepalis life. ‘Khuma’ gives an account of the Maoist problem, the sufferings of Nepalis people in the insurgency-hit areas. From the very beginning, his major thrust was more aesthetic, philosophical as well as political. A work of art can change the world and the popular thought of the period and cure social ill. And ‘Khuma’ has both a political and social import.

According to Baral, “‘Khuma’ is basically a depiction of the present Nepalis political context. But it has universal appeal too. Insurgency and civil war are not the problems of Nepal alone. The whole world including South Asian region are affected by it. We are forwarding the case of Nepal but it is an epitome of any country in the world which has suffered similar or different situation. In this sense a work of art transcends the context in which it was created and the society that it reflects. Besides that the plays are no longer text oriented. Extensive use of bodily movements, dance, and choreography add artistic value making it universal and supporting the text. Generally plays are staged repeatedly and it gives the opportunity for the director to make little changes according to the responses from the audience.”

Baral has already got invitation from Pakistan and Prithvi Theatre to perform this play. Baral wants to take this play outside Kathmandu — to the areas where it needs to be staged to fulfil its objective. Currently he is working on the script of some new plays. Born to be an actor, one thing that he cannot keep at bay is theatre, hence he also works for other theatre groups as well.