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There has been a paradigm shift in the Nepali theater indus­try in terms of script, owner­ship of theaters, thematic content, theater capacity and acting style. Of late, there has been a marked increase in the number of theater performances as well as audiences watching these performances. Theater is a ‘living art’ that never dies or gets lost, and it is a potent medium with which to influence the masses on certain issues, all the while entertaining them. The new generation has managed to harness the change in technology and socio-cultural patterns to create an energetic and unique theater experience. There has as a result been a massive overhaul in presen­tation, behavioral tactics of actors, and creative use of props, dialogues and languages.

Nepali theater has its origins in the traditional ‘dabali’ stage, wherein actors used to perform in a limit­ed space. But now private theaters such as Mandala, Sarvanam, Kausi and Shilpee have changed the way theater performances are organized.

Theater is also proving to be ben­eficial in alleviating stress, negative emotions and psychological burden as well as in therapeutic treatment and rehabilitation of individuals. Theater has not only increased public awareness on many issues, but also helped relieve entrenched problems like drug addiction. It has helped reduce domestic violence, discrimination, and sexual harass­ment and trafficking of women and children in rural areas.

Modernization and easy access to international plays, and trans­lation of such works into Nepali, have created more contents for Nepali theater. Also, notable works of Nepali playwrights such as Abhi Subedi and Laxmi Prasad Devkota have been translated and performed in foreign languages in other parts of the world. There has been an increase in experimental theater performances as well. Now, audi­ences can also be a part of such cre­ative performances and interact with the characters.

 Another welcome trend is that more and more women are taking part in theater

Another welcome trend is that more and more women are taking part in theater, in various capacities such as actors, directors and script writers. They are breaking the patri­archal stereotype that only men can perform, write and direct plays.

The growing popularity of ‘Kacha­hari’ theater (Forum Theater) is noticeable too in its positive impact on the society and in changing the attitudes, perceptions and behav­iors of the audiences. It provides the oppressed and disadvantaged groups a platform to air their issues and pleas for redress. Among the vital issues raised are human rights, corruption, women’s empower­ment, caste-based discrimination, gender violence and social inequali­ties. Further, audiences can play the part of actors, and they can together find solutions to such problems.

Theater has also produced many accomplished actors for the big screen. Established actors like Nir Shah, Najir Hussein, Dayahang Rai, Saugat Malla, Deeya Maskey, Menuka Pradhan all started out in theater.

Earlier in Nepal, theater perfor­mances and plays used to be car­ried out in a limited space and for a limited audience. The thematic issues raised and performed were also limited. But now there are diverse thematic issues. Censorship on dialogues and content, which was rampant in earlier times, has almost ceased to exist.

Theater artistes used to be assault­ed, arrested and harassed with civ­il lawsuits earlier, and they were paid very less. But the situation has changed. While theater was not con­sidered a respectable profession earlier, these days more and more youths are taking it up as a viable career option.

Nepali theater is also getting global recognition, thanks to workshops, and exposure in national and inter­national festivals. Further, Nepali theater has managed to inspire artistes from other parts of the world. I recall meeting ace Indian filmmaker and theater artist Seema Biswas. She said she felt ‘jealous’ about the use of Nepali theater to criticize the authorities.

The future

The Nepali theater industry has a bright future and plenty of poten­tial for growth. I expect there to be more support, subsidies and finan­cial assistance from the government to further develop the industry.

I hope more schools and univer­sities will offer theater courses and more youths will get the opportunity to work in the industry. I believe the international theater festival that is being held in Nepal from Feb 25 to March 4 will further help to take Nepali theater to a global audience.

And last but not least, I hope the­ater artistes will finally get due rec­ognition and start to be treated as professionals, with good income to sustain their livelihood. I also want to see the decentralization of the Nepali theater scene and the expan­sion of theaters beyond major cities like Kathmandu and Pokhara.

Anup Baral is a veteran theater artist who has also appeared in countless TV series and films