Kathmandu, January 3:

The Royal Nepal Academy (RNA) would be slogging it out when it marks the centenary of the typical Nepali drama this year — thanks to its artistes who went to the US on a two-and-a-half-month-tour and never returned.

The centenary celebrations are also a tribute to Pahalman Singh Swar, the first Nepali to produce a full-scale Nepali drama. Earlier, Nepali drama used to be based on various Indian mythologies only.

“We need at least 25 artistes to take part in a full play, but each sub units under the drama department has only four of them and two directors,” said Sarubhakta Shrestha, a member of the RNA. Drama, dance, music and instrumental music are four major disciplines of the music and drama department.

Last year, six artists of a 14-member team of the famous opera Malati Mangale, including the lead female character ‘Malati’, stayed back in the US illegally after a tour causing a huge embarrassment to the country. The artistes were all asked to retire as a disciplinary action against them.

“Artists responsible for teaching morality to the people should not indulge in such immoral acts themselves,” said Shrestha.

“The scarcity of artistes is also there due to the former RNA council’s decision to grant voluntary retirements to 35 of its temporary staffers, most of them stage performers, citing lack of funds in the academy,” Shrestha said.

Earlier, the RNA used to send its artists to take part in various programmes, but now things have changed. Though it has planned to organise various new programmes this year — like a drama with collaboration of the Samuhik Ranga Aviyan Samiti — the plans my remain plans given the scarcity of artistes. The dramas will be staged on first Saturdays of every month.

Even for its forthciming national unity day, the RNA is dependant on five artistes hired from private theatre groups. Dramas are being staged in the RNA since 1976.

“We have proposed the administration for new admissions in the academy,” Shrestha said.

“Drama is the strongest medium of expression,” said Anup Baral, theatre actor-cum-director. “The RNA should try to come out of its stereotype image in order to excel in the field and to reach out to the international arena,” he said. “There is a need to send artistes to participate in international theatre workshops and provide trainings,” Baral said.

A senior artist Harihar Sharma said drama could see no developnment if it is confined to books.

“In order to develop the drama culture in the country, there is a need to provide trainings to the artistes,” he said.

“At a time when we are demanding a separate drama and music academy, the importance of the two departments in the RNA cannot be ignored,” he added.

Prachanda Malla, senior drama director and writer, said that over the years the RNA has done a lot in terms of drama as individual theatre groups with aspiring artists have taken the Nepali theatre to a new height.