Mandala Theatre - Family Theatre Project Report

Project Completion Report

FAMILY THEATRE (104.Nepal.5-81.KTM) May 2011 – January 2012

Submitted to: Embassy of Denmark Neel Sarswati Marg, Lazimpat Kathmandu, Nepal P.O. Box No. 6332

Submitted by: Mandala Theatre Nepal

Anamnagar, Kathmandu Phone no.:01-6924269 E-mail: tht.mandala@gmail.com Website: www.mandalatheatre.com

May 14, 2012

EXECUTIVE SUMMARY

“Family Theatre” is a project undertaken by Mandala Theatre Nepal in collaboration with Mithila Natyakala Parishad (MINAP) Janakpur, with the support of the Embassy of Denmark in Kathmandu (DANIDA). The overall objective of this project was to train a small cast and crew from two theatre groups to develop, produce and perform two plays with universal themes in at least 30 locations in Nepal. The Project Completion Report of Family Theatre highlights the activities performed during the project duration of 9 months (May 2011- January 2012). The project implementing strategy and process, key achievements, major findings and analysis, key challenges, lessons learnt and recommendations are included in the report. The report has been prepared in consultation with the directors, actors, scenography team and administrative members of both the organizations. Family Theatre was an international partnership project between Passepartout Theatre Production (PTP) Denmark, Mandala Theatre Nepal, Kathmandu and Mithila Natya Kala Parishad (MINAP), Janakpur from which two Nepali theatre groups prepared two plays focusing on children and families using small cast and crew. The plays were performed 29 times around Nepal and helped the theatre groups to form a national theatre network. The project provided Mandala Theatre and MINAP the tools and techniques to produce simple and aesthetic plays that respect the feelings and understandings of children. Both groups learnt to work according to a production plan. The groups also learnt that a play becomes more approachable for all kind of audiences if it contains more physical movement and universal theme rather than long dialogues. The audiences responded positively to the plays that were both based on the inter relationship between family members. Some of their feedback and responses have been documented in print and visually.

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LIST OF CONTENTS

Contents

Page

Executive summary .............................................................................................................. i List of Contents ................................................................................................................... ii Abbreviation/Acronyms ..................................................................................................... iii 1. Introduction ................................................................................................................... 4 1.1 Background ................................................................................................................................. 4 1.2 Family Theatre Project and Its Progress: ............................................................................... 4 2. Project Implementing Strategy and Process ................................................................. 5 3. Project Outreach ............................................................................................................ 8 4. Documentation: ............................................................................................................. 9 5. Major Achievements, Findings and Analysis ................................................................ 9 Major Findings and Analysis .............................................................................................................. 9 6. KEY CHALLENGES ................................................................................................... 10 7. LESSONS LEARNT .................................................................................................... 13 8. CONCLUSION ............................................................................................................ 13 9. RECOMMENDATIONS ............................................................................................. 14 ANNEXES Annex-1: Family Theatre Project Activities……………………………………………………15 Annex-2: Final Stories………………………….. …………………………………………….16 Annex-3: Detail of the Story Development and Production Planning Workshop…..........……...20 Annex-4: Details of Production Process Workshop…………………………………... ……....39 Annex-5: Details of Family Theatre Tour ……………………………………………..……....48 Annex-6: Premiere and Closing of Family Theatre .…………………………………... ……....74

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ABBREVIATION/ACRONYMS

MINAP: Mithila Natyakala Parisad Mandala: Mandala Theatre Nepal PTP: Passepartout Theatre Production DANIDA: International Development Cooperation, Embassy of Denmark

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1. INTRODUCTION 1.1

Background

Nepal has a long theatre history, in which, street and forum theatre are the most used theatrical practices for advocacy and activism. Theatre has advanced in Nepal more from the perspective of advocacy of issues or public criticism of socio-political situations in the country than as a creative art form. However, some proscenium theatre productions try to break the formula by producing experimental plays. But those also are highly concerned with text and intellectuality. There exist very few plays that offer families, encompassing a range of ages, to enjoy theatre as a family activity. Even these plays are mostly based on stories that are foreign to the audience at large in Nepal. At present government agencies and private institutions lack the expertise and strategies required to develop theatre professionally and artistically. Although Nepal Academy of Music and Drama has been established to provide government support, it has been unable to develop any kind of a vision or strategy for theatre development in Nepal. Denmark has a long experience and tradition in children's and theatre for the youth. In 2009, 'Passepartout Theatre Production (PTP) and Aarohan Theatre Gurukul' created a tour-friendly family show, 'Bathi Rani' (The Clever Queen) that successfully played in Kathmandu and Denmark. 'Bathi Rani' established the fact that there is a clear basis and need for this kind of setup and performances. This experience gave PTP the comprehension that there is a large gap and strong need to promote children's and Youth Theater in Nepal. PTP trained and coached two young theater groups to create two touring family friendly performances in 2011 to share experiences and further develop the cross-cultural cooperation with Nepal.

1.2

Family Theatre Project and Its Progress

Family Theatre was a nine months long project (May 2011 – January 2012) undertaken by Mandala Theatre Nepal in collaboration with Mithila Natyakala Parisad (MINAP), Janakpur. The project objective was to train and promote theatre artists, directors and scenography team (sets, costume, props, light, sound) along with developing the trend of dramatizing Nepali stories. Stories with universal value were selected and scripted to represent two ethnic communities from the plains and hills of Nepal. The selected stories were translated and sent to the Danish theatre experts for comments. The Story Development and Production Planning Workshop in August 2011 was based on the selected stories. Participants included team leaders, directors, actors, scenographers and Family Theatre | Project Completion Report | May 2011 – January 2012 |

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documentation team. The stories were developed into dramaturgy. Participants prepared two separate production plans and checklists. The period following the workshop was utilized by the two theatre groups to research, design and produce sets, costume, props, music, sound and light. Team Leaders identified potential locations for staging the plays. All these activities were shared online between the partners. Mandala Theatre organized a Test Performance of both the plays in Kathmandu on 24 th November 2011 where invited students watched the plays and gave their feedback. Both teams incorporated the feedback where relevant to improve the plays. The plays were premiered at the opening ceremony of the 2nd Mandala International Youth Theatre Festival organized by Mandala Theatre Nepal on 25th November 2011. Mandala performed “Curly Hair” and MINAP performed “The Clever Boy and the Demon”. Two different theatre tours around the country were launched from the premiere. Mandala started its journey from Patan Durbar Square Lalitpur and MINAP started its from Dhanusha. 'Curly Hair' has been performed 15 times in 13 districts and 'The Clever Boy and the Demon' has been performed 14 times in 12 districts. The closing ceremony of Family Theatre was organized by MINAP in Janakpur where both the plays were performed.

2. PROJECT IMPLEMENTING STRATEGY AND PROCESS A need to produce plays for families and children was identified during the production and staging of 'Bathi Rani' (The Clever Queen) by PTP (Passepartout Theatre Production) in 2009. This experience gave PTP the comprehension that there is a large gap and strong need to promote children's and Youth Theater in Nepal. In July 2010 Jacques S. Matthiesen, play director from PTP visited Nepal to meet with existing theatre organizations in Kathmandu that had been identified by the Cultural Consultant Renchin Yonjan. After a series of interactions Mandala Theatre was selected as the local partner with the understanding that the project coordination with a second partner would be its responsibility. PTP would provide the technical expertise and inputs where required. The partnership project was developed by PTP and Mandala Theatre with MINAP as the third partner to increase interpersonal understanding and share experiences for family theatre in Nepal. As Mandala Theatre is a Kathmandu based organization, MINAP was selected to represent the Terai belt. The project therefore represents national and international partnerships for development of family theatre in Nepal. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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The project activities were carried out in five phases. Phase 1: Story Selection Stories with local flavor and content representing the diversity of Nepal were researched by reading published stories, sharing and discussing unpublished but popularly Story Selection Meeting: Cultural Consultant Renchin Mandala Team Leader Dayahang Rai, MINAP told or heard of stories and requesting Yonjan, Playwright Ramesh Ranjan Jha and Mandala Play Director writers to send in stories. Ultimately a Rajan Khatiwada (respectively from left) on July 2011. Story Selection Meeting: Cultural Consultant Renchin Yonjan, Mandala Play Director Rajan Khatiwada, Mandala Playwright Rajan Mukarung, Mandala Actress decision was made to develop plays based on a folklore and Sirjana Subba, Mandala Team Leader Dayahang Rai and Office Secretary Nabina Aryal (respectively from right) legend from two ethnic communities of Nepal. The selection of on July 2011 the writers was made by the two organizations. The criterion for selecting the writers was their knowledge and experience of the related cultural context. Stories with universal value were selected and scripted to represent two ethnic communities from the plains and hills of Nepal. The selected stories were translated and sent to the Danish theatre experts for comments. (Annex 2: Final stories.) Phase 2: Story Development and Production Planning Workshop The Story Development and Production Planning Workshop in August 2011 was based on the selected stories. Participants included team leaders, directors, actors, scenographers and documentation team. The stories were developed in the form of dramaturgy. Participants prepared two separate production plans, checklists and a listing of potential venues.

Story Development Class: Christian Q Clausen giving a class on Dramaturgy on 18th August 2011.

(Annex 3 Detail of Story Development and Production Planning Workshop eg. Schedule, List of Participants, Rapporteuring reports, Photos, Media Coverage and Production Plan)

Phase 3: Research, Discussion and Design The two theatre groups researched, designed and developed the sets, costume, props, music, sound and light. Potential locations to stage the plays were selected and potential local partners identified. The venues were selected and performances staged with the support of the local organizers. (Annexe 5: Timeline of activities; Design (sketches & photographs) and other activities)

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Phase 4: Production Process Workshop Two separate Production Process Workshops were organized in Kathmandu and Janakpur in November to finalize the production of „Curly Hair‟ and „The Clever Boy and the Demon‟. Jacques S. Matthiessen worked with the directors and actors on body language, acting styles, direction and team work. Christian Q. Clausen helped the scenographers with sets design, costumes, props and lighting. The Cultural Consultant Renchin Yonjan interpreted both language and techniques taught by the two Danish experts. (Annex 4: Detail of Production Process Workshop eg. Schedule, Outputs, Photographs and other details.)

Production Process Workshop in Kathmandu: Jacques instructing Mandala Actor Buddhi Tamang on 3rd November 2011

Phase 5: Premiere and Performances The two plays were premiered on 25th November, 2011 at the Russian Centre of Science and Culture, Kamal Pokhari, Kathmandu on the occasion of the 2nd Mandala International Youth Theatre Festival. Prior to the premiere, two test performances were conducted to check children‟s reaction Premiere of Family Theatre: MINAP performing its play The Clever Boy and the Demon in Kathmandu on 25 November 2011. and understanding of the plays. Some technical changes were made after the test performances. Pathshala Foundation, Baneshwor provided a hall for rehearsals and test performance. th

Mandala Theatre performed „Curly Hair‟ 15 times in 13 districts. MINAP performed „The Clever Boy and the Demon‟ 14 times in 11 districts. The Family Theatre tour was carried out in collaboration with local theatre groups. The closing of Family Theatre was organized by MINAP in Janakpur on December 31, 2011. According to our tour report, the two plays were watched by approximately 16000 viewers. (Annexe 5: Detail of Family Theatre Tour, Tour Report, List of places with dates and other details; audience feedback; photos with captions Annexe 6: Premiere & Closing details with photographs.)

Performance in Tour: Mandala performing 'Curly Hair' in Kirtipur on 11th December 2011.

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3. PROJECT OUTREACH The two plays were performed in 27 districts of Nepal. It contributed to accessing new areasplaces and communities. It helped to create and promote an understanding of theatre. The interactions following the performances helped to reaffirm that the project was on the right track in terms of its aims and objectives. Audiences stated that the plays have become a must watch for family and children regarding the focal point of the play and its simplicity in presentation. Such appreciation contributed to developing the theatre teamâ€&#x;s confidence and belief in creative productions. Previous plays advocating issues and rights were met with skepticism and disbelief whilst the present creative productions received positive acknowledgement. When Mandala and MINAP first arrived at difference performance locations, the community people ignored both groups because they thought condoms and other social messages related Selected Venues for Family Theatre Tour to health were being promoted through the plays. They stated that they are all aware of such problems and schemes and did not want to see any such boring plays. When they realized that the plays were family based stories, they watched the performances till the very end. It was a new experience to watch plays without messages. Their responses and photos included in the tour report show their satisfaction. Family Theatre has helped to promote a theatre movement for community people, who want theatre as their family activity and as a source of entertainment for their children. Students, theatre lovers, families and cultural activists met during the performances, expressed enthusiasm to be involved and promote such activities in the future. (Annexe 5: Family Theatre Tour Report)

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4. DOCUMENTATION Documentation is important to record activities, events, challenges, achievements, findings and learning to help in building a sustainable organization. Documentation records history of events and activities of the organization. It also helps to maintain transparency and reduce the possibility of mistakes in future events and activities. All five phases of Video Documentation: Cameraperson Manandhar capturing the the project have been documented via still camera, video camera and as Rajeev interview with crew. Renchin Yonjan, the Cunsultant and Sirjana Subba, textual reports. A 35 – 40 minutes long video of the program contains Cultural Director of Video Documentation, are instructing. key glimpses of the project activities that include workshops, meetings, performances, audience feedbacks. Photographs of all the five phases are captioned. The documented information will help Mandala and MINAP to develop and expand its scope of activities. The information can be utilized as learning materials by both new and regular artist members and help to reduce the possible mistakes in our further activities. The lessons learned from the project throughout these documents will strengthen our capacity to do better in future days. 5. MAJOR ACHIEVEMENTS, FINDINGS AND ANALYSIS One of the major achievements gained through this program is the maturity in the artistic experience of each member. Being a new group Mandala Theatre was seeking for opportunities to learn whereas MINAP, as a well established group was trying to do something different. Family Theatre has enabled both the creative and administrative teams to organize any program with proper planning. Major Findings and Analysis The Journey from the project planning to closing performance was one of learning through doing where theoretical teachings were followed by implementation. This contributed significantly to the success of the project 1.

Story Selection While searching for stories with ethnic and universal value, the possibility of dramatizing many folk stories was found. It was found that stories representing particular cultures and society could be helpful in introducing that culture to others. Moreover, it creates awareness, understanding and respect among various cultures.

2.

Target Audience Family Theatre targeted all types of audience from various locations and diversified culture and language of Nepal. The performances focused on using more body language and actions than words so that the plays could be easily understood the diverse audiences. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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3.

Properties for Plays Materials used for making sets and props should be of same type. Use of natural materials to prepare handmade props and puppets generated curiosity and interest both amongst audiences and theatre groups. It is important that theatre groups take the time to explore and utilize locally available materials that contribute to establishing rapport with audiences from rural areas. Urban audiences too appreciate props

Management The Production Plan ensured the success of the project. It is important to be able to make timely decisions in order to ensure that production activities are not affected. The selection of the appropriate team is crucial to the success of the project. In this project, the actors were selected prior to the story development so that they could participate in the first workshop. This did not work out so one actor was replaced just before the second workshop. The second actor was replaced just 10 days before the premiere. Although this caused management difficulties, the decision contributed to the performance becoming much stronger. Family Theatre successfully performed plays in more than 27 different locations of Nepal. The process of coordination and mutual understanding with local theatre groups helped to make the tour successful and eventually contributed to the development of a national theatre network. Many theatre groups have assured their help and support for this type of theatre tours. Students and children primarily seek entertainment or recreation from any piece of art rather than moral lessons and messages. The tour helped to reach out to a new group of audience that were interested in and had the potential to become artists, designers, directors, writers, and pursue other creative fields in theatre. 6. KEY CHALLENGES Challenges were faced at every step of the project. 6.1

Story Selection A key challenge faced was selection of the appropriate stories. Many stories - 'The Golden Comb', 'Journey into the heaven by Gonu Jha', 'Beard of Tax officer', 'Hettchakuppa', 'The Clever Boy' and 'Curly Hair' came to us. Choosing two out of these was a challenge as the stories were vital to the development of the plays. Most stories were too long and lacked universal theme and appeal. Writers from both groups were confused about the universality of their stories. Therefore, a lot of meetings and discussions were organized to select stories that would hold the interest of all types of audience.

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6.2

Development of selected stories The elements of dramaturgy were lacking in the selected stories that were based on folklore of two communities. Although the two stories originated from two different communities of Nepal, they had similar sequences and events. Developing the dramaturgy that retained its original flavor confused the writers. The writers who were well known independent writers found writing within the confinements of the project requirement difficult. Continued interactions, discussions and meetings with the Danish experts and the Cultural Consultant during the Story Development and Production Process Workshop, contributed to creating the required elements for the stories.

6.3

Scenography The Scenography team from Mandala was not able to design sets, costume, light and other requirements of play on schedule. Firstly, the scenographers required the final story that was only completed just before the second workshop in November and secondly because the scenography team was young and inexperienced. The Scenography team from MINAP completed their design and sets on schedule but found it difficult to move away from their traditional concepts as the team consisted of older experienced sets designers that had worked with MINAP for several years.

6.4 6.4.1

Management Lack of experience and management skills created challenges in implementing the production plan prepared during the first workshop in August. Both teams included responsibilities and jobs to be done over two important festivals – Dasain and Chhat. Although the members were all involved in the production planning, most of them decided to take a break for the festivals. The assignments were thus not completed on time for the second workshop. Valuable time that could have been used for learning new skills and techniques was lost in building props and sets at the second workshop.

6.4.2

Mandala Theater had to change two of its actors, after evaluating their work and progress. Durga B.K, an actor, was changed before the Production Process workshop as she was unable to follow and understand the director's instructions for the performance. Srijana Adhikari replaced Durga B.K. 15 days before the premiere Rajan Khatiwada, the director replaced Sudam Chhatkuli whose body language was not developing as required in the play.

6.4.3

Following the decision to replace Sudam Chhatkuli as lead actor by the then director Rajan Khatiwada; the responsibility of Direction was transferred to Dayahang Rai, the team leader of Mandala Theatre. One person holding two responsibilities created a challenge for the entire team, especially the director. He was new to the artistic team and had to rediscover the perfect frame of the play as director. This created some pressure on the entire team.

6.4.4

A new tour coordinator had to be hired to replace the previous team leader Dayahang Rai. Sulakchhyan Bharati was hired as the tour coordinator as he had been a participant of the two workshops and helped with the sets construction. He was paid from the previous lead actor Sudam Chhatkuli's balance salary.

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6.5

Financial Management

6.5.1

Manadala Theatre being a new organization faced some problems in making payments by cheque for hall bookings and accommodation. The solution was to pay in cash that is not allowed by DANIDA and may become an issue during the Audit.

6.5.2

Family Theatre project budget focused on artistic priorities as it was designed and budgeted in 2010 by Danish and Nepali theatre actors. Unfortunately insufficient consideration was made to include the possibility of rising prices for the cost of materials for costume, props, sets and technical personnel for translation, construction etc. Therefore in many situations both Mandala Theatre and MINAP felt the pressures of insufficient budgeting.

6.5.3

The practice of performing an open-air play without socio-political issues and message is new in the theatre scenario of Nepal. Nepali audiences think that plays performed in open air spaces always carry issues and messages. The audiences always asked about the message of the play and initially found it difficult to accept that a play can be just for fun and entertainment.

6.6

The plays originated from two different cultures, Kirat and Maithili. The risk of acceptance by audiences from other cultural communities was present throughout the tour.

6.7

It was a challenge to set up the lightweight props in fields. Very often the sets had to be held up by the actors and other team members to avoid the onslaught of strong winds. The solution was to try and find open-air locations with some kind of shelter.

6.8

Lack of electricity and load shedding was a challenge. A generator had to be hired to overcome this problem.

6.9

Promoting the play to appropriate audiences was a challenge. Small children in the audience sometimes became so terrified that they started crying. This situation made Mandala Theatre think again about the target audience for the play. Had the right group of children been invited to watch the plays? The feedback from other members of the audience was positive. Mandala Theatre realized that the target audiences were children from class 2–8 and in later performances ensured this information was provided to the local organizing partners whilst inviting children to the performances.

6.10

Lack of an appropriate venue for rehearsals was another major challenge for Mandala Theatre. Some rehearsal halls were available but expensive. Mandala Theatre utilized its network to manage rehearsal space. On the other hand MINAP was better organized as it had its own office and open space.

6.11

The productions could have gone more efficiently and effectively if Mandala Theatre had been more experienced in managing productions. Most of the team members were actors and creative people lacking skills in managing productions and events. MINAP was more experienced but still lacked organizational skills. Decisions were delayed because toplevel management made most of the decisions.

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Despite the many challenges, Mandala and MINAP were successful in developing two plays for children and performing them before a diverse group of people of all ages. Both plays were appreciated for the simplicity and strength of the stories, sets and performance. 7. LESSONS LEARNT Mandala Theatre and MINAP have produced and staged many plays and programs. However, both groups lacked the skills to plan the production and promotion. Proper planning provides the guideline for success. Family Theatre taught MINAP & Mandala to work according to a plan. The production plan prepared during the Story Development and Production Planning Workshop was utilized to plan each and every activity. The importance of documentation was also realized during the project period. Documentation provides proof as well as prompt information regarding the accomplished tasks. The plays directed and produced till now were the point of view of the director himself and the audience were compelled to understand it on the basis of the language used in performance. The Family Theatre project has helped MINAP & Mandala to understand that considering the target audience, their age and expectations are major things to be kept in mind while producing a play. Both groups learnt that mutual cooperation and support from each team member is key to success. Mandala realized the necessity of having its own space for trainings and rehearsals. 8. CONCLUSION Family Theatre received an overwhelming response and was widely appreciated by communities, families and children. It provided them an opportunity to watch plays with fun and family environment. The program has provided us the knowledge and energy to produce simple and aesthetic plays that respects the feelings and understandings of children. Stories representing a particular culture and society can be helpful in introducing and creating awareness, understanding and respect among various cultures. Production planning is important to complete any program successfully. The necessity to produce theatrical activities that focus on interest and understandings of children and families are seen as future possibilities. Artistic works like theatre productions, which are only city people and intellect oriented, have to consider the community people and aged base audiences while producing any program. In conclusion, Family theatre helped Mandala and MINAP to learn new skills, tools and techniques related to producing plays for families. The trainings and entire process of creation helped to build a stronger bond between members of the two theatre groups.

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9. RECOMMENDATIONS There are still many difficulties in making theatre accessible to people especially outside Kathmandu valley. Many communities are not aware of updated and advanced scopes of the art world. They still consider artwork as a means to proliferate socio-politic issues and messages. They have not yet realized how art and culture can be represented not only in movies but also live on stage. During the tour, some of the audience from different locations stated that they were glad to have experienced their first theatre performance. This indicates the current status of theatre outside valley. Therefore, there is a wide scope and need for theatre development and promotion of programs similar to family theatre. Youth and children in the audiences were encouraged by the performances. They were happy to see simple and cultural stories in the form of visual art in their yards. Many theatre groups were inspired to follow the path set by Family Theatre. Various programs can help to identify potential talent for theatre. Programs like „Theatre for Studentsâ€&#x; would be an appropriate movement to identify and train students in different aspects of theatre production. Mandala and MINAP faced many challenges in managing finances. It was not always possible to make payments through cheques. Many times, especially during the tour, the two theatre groups were forced to make cash payments. The auditors do not accept this. The rule of asking quotations for hiring or buying anything is also difficult. For transportation we had to hire local bus where we cannot ask quotations. Therefore, it would be easier if some changes in these rules could be made. It would be easier to accomplish the task if DANIDA changes its financial rule of making only cheque payments. It also should consider the case of asking for quotations for all purchases. Family Theatre has provided a learning opportunity for Nepali theatre practitioners. It has not only made Mandala Theatre and MINAP understand the necessity of production planning but also helped to develop dramaturgy. There is a strong need for good playwrights in Nepal. This kind of training and workshop is necessary in upcoming days to proliferate Nepali theatre realm. So, the recommendation is that some trainings and workshops regarding the screenwriting should be conducted.

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Annexe 1: Family Theatre Project Actitivities May – December 2011 MONTH May Aug 2011 August 15 – 23 2011

Aug – Oct 2011

Oct 2011 Oct 31

ACTIVITY

DETAILS

REMARKS

Thought Development

Nepali teams work with

Process

Danish partners

Online exchange

Developed stories into two scripts

Danish Experts: 1. Jacques Mathiesen 2. Christian Q. Clausen

2 production plans by Mandala & MINAP

Cultural Consultant Renchin Yonjan

Online communication between Danish experts & Mandala & MINAP

Mandala coordination

Scenography research, design and development

Before Dasain festival

Story Development and Production Planning Workshop in Kathmandu

Pre Production

Production

Rehearsals by Mandala & MINAP

Danish experts arrive in Kathmandu

Nov 1 – 5

Production Workshop in Kathmandu

Nov 6

Team travel to Janakpur

Nov 7 - 11

Production Workshop in Janakpur

Jacques Matthissen Christian Q. Clausen

Acting Rehearsals

Jacques Matthissen

Properties designed & built

Christian Clausen with Cultural Consultant

Acting Rehearsals

Jacques Matthissen

Properties designed & built

Christian Clausen with Cultural Consultant

Nov 8

Test Performance

Mandala performs Curly Hair

Review by Jacques & Christian Lead actor change recommended

Nov 25

Premiere in Kathmandu

Curly Hair

Opening of International Youth Theatre Festival

The Clever Boy & The Demon Nov 27 – Dec 30

Family Theatre tours Nepal

Dec 31

Closing Performance in Janakpur

mid Jan

Review meeting with the two production partners

27 performances around Nepal

Mandala & MINAP

Analyze and document the project & process

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Annex-2: Final Stories 2.1 Mandala Theatre story 'Curly Hair' Tayama is weaving and singing in a rough voice. Hetchhakuppa, being alert, is moving his eyes rapidly as his sister forbids him to commit any mistake. A butterfly attracts the attention of Hetchhakuppa and he falls on the weaving machine while following the butterfly. Tayama beats him and sends him to sell cloth. Khiyama enters singing in a sweet and melodious voice. She is combing her hair. Khiyama plaits her hair whilst Tayama continues to weave. Hetchhakuppa enters carrying a pack. He hides the pack and removes the turban from his head. His hair is curly and unmanaged. Hetchhakuppa screams in pain as Khiyama tries to comb his hair. The comb sticks in between Hetchhakuppa's hair. Suddenly they hear someone roaring. It is Hongrayo. Hongrayo is bald and has a frightening appearance. He has come in search of his bag of eggs that have special powers. Hetchhakuppa hides behind the weaving machine. Hongrayo finds Khiyama beautiful so he tries to seduce her. Khiyama, being frightened, also hides with Hetchhakuppa. Hongrayo, intending to catch Khiyama, takes his hand behind the weaving machine and pulls someone. Unfortuantely Hongrayo has grabbed Hetchhakuppa by the hair. Hongrayo is scared of curly hair so he slaps Hetchhakuppa and throws him away. He pulls Khiyama and takes her with him saying Tayama should return his bag of eggs to get her sister back. Tayama beats Hetchhakuppa in frustration and asks Hetchhakuppa if he has the bag of eggs. Hetchhakuppa gives her the bag but takes one egg and hides it in his pocket. Tayama leaves with the bag to exchange it for her sister. Hetchhakuppa is sad when his sisters do not return. He is sitting in a dejected mood when the butterfly comes again. She flies around Hetchhakuppa and the weaving machine as if gesturing to follow her. Hetchhakuppa follows the butterfly as the butterfly leads him towards the jungle. The Bumble Bee appears. The butterfly flees from t there as she scares with the humble bee. The humble bee tries to attack Hetchhakuppa. In reaction, Hetchhakuppa hits the humble bee. The humble bee becomes wounded. Hetchhakuppa feels guilty of being so cruel to the humble bee. He himself cures the humble bee. He ties a bandage on the wound of humble bee by his clothes. The humble bee feels good. Both of them embrace. Now, the humble bee leads the way. Hetchhakuppa follows him. On the way, there comes an eagle. The eagle swallows the humble bee. It makes Hetchhakuppa angry. He fights with the eagle. The tussle ends when Hetchhakuppa breaks the wings of eagle. Hetchhakuppa again feels sad and shows his pity towards the wounded eagle. He, in order to recover the wound of eagle, ties a bandage on the wound by using his clothes. The eagle flies. Hetchhakuppa follows him. Hetchhakuppa now encounters with a tiger. The tiger roars and attacks Hetchhakuppa. Meanwhile, the butterfly comes and disturbs the tiger by dancing in front of tiger's eyes. Hetchhakuppa picks out the egg from his pocket and hits the tiger with it. The liquid of egg creates a river as that was a magical egg. The confused tiger doesn't see the river in his aggressive mood and drowns into it. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Hetchhakuppa finds another man asking for help inside the river. He is almost drowned. Hetchhakuppa gives him a side of his clothes. The man, by the help of clothes, comes outside. He becomes thankful to Hetchhakuppa and gives him a bottle of alcohol. He also shows him the way to Hongrayo's house. Hetchhakuppa reaches Hongrayo's house. He finds the doors closed there. He tries to open it but fails. Hetchhakuppa collects all his energy. He ties his head with a turban. Then he hits the door with the great force. The door opens now. He meets with Hongrayo inside the house. There occurs a fight between them. Hongrayo tries to pull Hetchhakuppa by the turban. It makes the turban untie. Hongrayo frightens with the curly and unmanaged hair of Hetchhakuppa. He arrests him and imprisons him with his both sisters in a same cage. Hetchhakuppa embraces with his sisters. They all start to cry as they are together after a long time. Hongrayo becomes happier as he has succeeded to get all his enemies in his prison. He starts to drink alcohol. Hetchhakuppa picks up the bottle from his waist bag. He mixes a piece of his curly hair in the bottle of alcohol. He pretends to drink the alcohol by himself. Hongrayo sees it and snatches the bottle from Hetchhakuppa. He drinks the alcohol. As he drinks it, the piece of Hetchhakuppa's hair sticks inside the throat of Hongrayo. He becomes faint. Hetchhakuppa sees the key of prison hanging on Hongrayo's waist. He stretches his body and picks up the key. He releases all his sisters and himself too. They all become happier again. They start singing and dancing all together.

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2.2 MINAP Story 'The Clever Boy and the Demon' Chhatulal's Home Chhatulal is playing Pachisi,a tactical game .His mother is feeding their cattle. She starts to milk the cow .she scolds Chhatulal for wasting his time in plays and games. She leaves the house in order to sell the milk ordering Chhatulal to take care of cow. Chhatulal's Home There comes storm (tornado). A monster appears inside that tornado. He heads towards the cow. The cow starts to cry due to the fear. Chhatulal tries to fight with the monster and becomes defeated. He becomes faint due to the attack of monster. The monster takes away the cow with him. Chhatulal's Home The mother comes. She finds her son in an unconscious mode. She does not find cow in the shed. She takes back her son's conscience. She asks about the cow. Chhatulal details the whole incidents. The mother becomes so sad and aggressive after knowing the facts. Chhatulal can't tolerate his mother's tears .He vows to get revenge with the monster by killing him anyway. Jungle Chhatulal and his friend are practicing the fighting art with bows and arrows. After a long practice, they become tired by hunger and thirst. They hear a bird's twittering far away. With the purpose to hunt the bird, they move towards the place from where the bird is twittering. Jungle: A tree of Jamunas (a kind of fruit) A parrot is sitting on a branch of the tree. Chhatulal targets the parrot by his arrow. The parrot pleads him not to kill him. Chhatulal makes a condition that if the bird will bring them some Jamunass, he will let her. But the bird doesn't give them any of Jamunass. Now being annoyed, Chhatulal attacks the bird with an arrow. Meanwhile, a girl falls down from the tree. The friend of Chhatulal flees from there as he frightens with the incident. Chhatulal tries to get back the girl's conscience. The girl attacks at first when she wakes up. Chhatulal remains calm. He gradually gets success to make the girl, too, calm. A kind of mild relationship develops among them. Chhatulal asks the girl about the monster and his residence. Instead of giving the answer the girl escapes from there. Chhatulal follows her. The girl enters into a cave. The monster comes out from the cave saying; 'Human smell', 'Human smell'. Chhatulal hides himself. Finding no one outside, the monster goes inside. Chhatulal observes the outward location. He sees a well there. Chhatulal goes in front of the cave's door. He finds an eagle there as the guard. A tussle occurs there. Chhatulal kills the eagle and goes inside. He finds his cow and the girl inside the cave. Both of them were imprisoned in two separate cages. The cow starts to cry after seeing the boy. Chhatulal tries to break the cage. Meanwhile, the monster arrives. A tussle occurs again. The monster defeats Chhatulal and imprisons him, too. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Chhatulal talks with the girl. The girl unravels all the mysteries of that monster. Chhatulal knows that the monster, too, is interested in Pachisi game. Chhatulal starts playing Pachisi solely inside the cage. The monster arrives there and wishes to play together. Chhatulal denies at first. He puts forward a condition that if the monster wants t play Pachisi with him, the venue should be decided by Chhatulal. The monster agrees. Chhatulal takes the monster near the well. He throws the dice cube of Pachisi inside the well and, being excited, starts to scream. He declares that he has won the game. The monster unbelieving the declaration of Chhatulal goes near the well and sees inside. Meanwhile, Chhatulal pushes the monster into the well. The monster dies. Chhatulal releases all the captives from the monster's cave.

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Annex-3: Detail of the Story Development & Production Planning Workshop Story Development & Production Planning Workshopâ€&#x;s list of participants, daily schedule, reports, photos, media coverage and production plan. The workshop continued from 16th to 21st August 2011 at World Trade Center, Tripureshwor, Kathmandu. 4.1 List of Participants S.N. Name of Participants 1 Dayahang Rai 2 Sirjana Subba 3 Buddhi Tamang 4 Bijay Baral 5 Pavita Rai 6 Sudam Chhatkuli 7 Durga B.K 8 Rajan Khatiwada 9 Umesh Tamang 10 Bikash Joshi 11 Najir Hussain 12 Suraj Yadav 13 Som Nath Khanal 14 Sarmila Maharjan 15 Srijana Adhikari 16 Rajan Mukarung 17 Nabina Aryal 18 Suraj Adhikari 19 Soma Lama 20 Rajiv Manandhar 21 Ashish Maharjan 22 Reena Rimal 23 Priyanka Jha 24 Pramesh jha 25 Rabindra Jha 26 Pravesh Mallick 27 Prakash Premi 28 Ramasish Thakur 29 Anil Chandra Jha 30 Sunil Mallick 31 Neha Priyadarshini 32 Ramesh Ranjan Jha 33 Asha Kaji Mahandar 34 Christian Q Clausen 35 Jacques Matthiessen 36 Sonu Jayanti 37 Renchin Yonjan 38 Prakash Ranjit 39 Asmina Ranjit

Organization Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre Mandala Theatre MINAP MINAP MINAP MINAP MINAP MINAP MINAP MINAP MINAP MINAP MINAP Sonic Denmark Denmark Kalalaya Consultant Lasanaa Lasanaa

Contact Number 9841261295 984153366 9841185625 9841043759 01-5546977 9808364371 9849336737 9851044977 9841144056 9849024252 9813274332 9807846782 9849132746 9841427556 9849224847 9813256159 9841268130 9813244306 9851112333 9849071059 9803965596 9844117833 9814830737 9844021492 9844125922 9804817479 9804841552 9804858567 9844022856 9854021419 9814885965 9854024143 9841135011 9818472178 9818472183 9842282133 9851054037 9841811267 9851026155

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4.2 Workshop Schedule and Report Day 1: Schedule Time Activity 09:00 Registration 09:05 – 09:15 Warm up 09:50 -10:00 Briefing about the workshop 10:00 – 10:45 Production Planning Checklist 10:45 – 11:00 Tea Break 11:00 – 11:30 Framework for the Production 11:30 – 12:15 Activity for the participants 12:40- 01:25 Lunch Break 01:20 - 02:25 Activity Continued 02:25 – 03:05 Presentation

Remarks Physical warm up What will be the workshop all about

Budget, Participants, Physical Conditions for the play To prepare their own production plan Production plan for Mandala Theatre and MINAP

Report The workshop started with the Registration of all the participants of the workshop. Physical warm up was the first activity taught by Jacques. The first exercise was the exercise of balancing the body which was followed by other exercise for leg and stretching. As all the participants were warmed up, the workshop started with the briefing of the workshop: What we will be doing in the workshop for the day.  Warm up  Setting up the framework of production  Production checklist  Production planning in groups Lunch Break  Dramaturgy  Small story At the end of workshop on Sunday, 16th August, 2011 synopsis for following things should be ready  Examples of the music, set design, costume  Proposal for acting style  Scene for each play  Revision for production plan  Plan next meeting

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The session started with the explanation of the Production Checklist. Production Checklist:  Ultimate economic responsibility – economic responsibility of each in terms of monetary matters  Ultimate artistic responsibility – responsibility of each member of the team, everyone should be clear about their responsibility , no doubling of the responsibility Artistic Production:  Producer  Responsible of production cost  Author: Idea/ Synopsis/Screen play  Artistic Consultant  Dramaturge- looking for the large source of the information Selection of Production Team:  Director – should look for the aptitude of others  Set Designer- should be creative enough  Costume Designer  Composer  Actors  Lighting Designer – sometimes can also be the director, set designer  Sound Designer  Puppets Production Checklist:  Production Manger  Technician Building  Tailor  Music: Musicians  Choreographer  Stage Fight Teacher  Current Economy  Book Keeper  Fund Raises  Public Relation Responsible – web designer  Photo  Poster  Programs  Tickets  Props Manager  Stage Manager  Installation on Tour  Tour Leader  Driver Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Framework for the production  Budget  Participants  Physical Conditions- where the work has to be done should be clear. For all three things listed above there should be a 3 step planning - Pre-production planning - Production planning - Post -production planning Pre planning of the program is very essential. Pre- planning includes the planning of the budget, participants, and physical conditions in advance. The planning in organization makes the working very convenient. In case of tour every small things are to be arranged, like transportation in every places, portable materials, etc. In the drama, the idea which is with everyone can be shared with each other and be developed. The planning of the activity for our own project is very essential. The counting down of the date was the method used. The example for the planning of costume design: The costume has to be prepared in advance. The custom has to be ready before 2 weeks of the premier. For that the tailoring of it has to be done which will take time. The designing is important which is based on the characters of the story. So it is directly affected by the work of story writer. Till the story is not ready, the design of costume will not start. After the preparation, the planning for touring has also to be done. As we have to use that costume for 2 -3 weeks the condition of it has also to be considered. In case of light: how many light to take, what are the places we need light, the testing of light in accordance with the time and conditions of the show should be a matter of planning. As the importance of planning was discussed, activity for the participants was given. - The 2 teams Mandala theatre and MINAP was divided into 2 groups to prepare a production plan for their individual organization - 2 teams made their plan on the basis of the production checklist discussed above. - As the planning was ready, both the organization made their individual presentation. There was lots of confusion in the planning made. Therefore, many suggestions were given.  Make all the planning more critically  The time given to the writer is short so need to prepare a synopsis which will be agreed by all the members. After the synopsis, others can start their work. But the story can be developed later without changing the synopsis.

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Day 2: Schedule Time 08:50 09:10 – 09:25 09:25 – 10:30

Registration Warm up Slapstick Practice

Activity

10:30 – 10:45 10:45 – 12:10 12:10 – 12:20 12:20 1: 10 – 02:10 2:10 – 03:00

Tea Break Explanation of children theatre Activity of making a 5 minute play Lunch Break Activity Continued Presentation

Remarks

Report Warm up:  Started with the exercises taught on 16th August. Slap Stick:  It is the act that can be made as the entertainment part in the play. It is a kind of slap but without touching the other person. It is an act of faith. Here each other should have confidence that they will not hit other person.  First only the action was done but later that action was combined with reaction.  As it is a theatre, the audience has to see it and believe it.  Then the small parts of action and reactions are combined and made a chain of it.  The action and reaction should be in good timing.  The drama should be understood by all audience, though the actors speak or not. The message should be conveyed with the help of actions also. Brief explanation of children theatre:  Children learn from what we do.  We have to respect children and understand their thinking.  In Denmark, children are treated well and prepared entertainment for them as per their thinking.  The emotion of children and adult are same but with different thinking according to their experience.  The play should be prepared according to the age of the children. In this the physical condition should be clearly analyzed- area where the play will be performed, the distance and also the time factor. For children the play does not exceed 30 minutes in Denmark  There is a separate drama organization in Denmark for children. They organize a children theatre festival every year which is considered as world greatest festival.  During 60‟s all drama workers used to work together in same place. But now the situation is not the same.

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The brochures prepared for theatre festival going to be held in Denmark was shown which contained the name of the drama and the age group to which it is focused. In Denmark there is a rule which says, each and every child has to see at least one drama. Government also provides help for this act. Today every play is based on artistic idea not the moral lesson. In the physical conditions, the age group of audience, cost of the play, number of audience, etc. is to be considered. General process of story telling It is a circular process. Can start from anywhere but the process goes in a circular form. Linear Story Telling It is a straight line where process goes one by one. We cannot return from one stage to the previous step.

THE MOTOR CAR OF THE DRAMA: Desire- Obstacles- Plan – Living out the plan – Ending (Resolving)

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Linear Dramaturge Presentation – description – Increasing Conflict- conclusion All these steps were explained with the help of an example of marrying a princess. The initial step is the desire to marry the princess. To marry a princess is not easy. There arise many obstacles. Then he plans to buy a horse. When he buys a horse he has no option to return so this becomes the point of no return. So he goes towards his destination where he faces problems that he overcomes. Then he marries a princess and lives happily ever after.

The graph given is not a strict rule to be followed. It is just a guideline. There can be changes. Every activity does not have a fixed result. The first part should be impressive. The light and sound should also be planned according to the graph. It should be balanced with other aspect of the drama. Not only in the whole drama but in an individual scene also ups and downs can be created but by making a balance. There should be consistency in language, expressions, situation, etc. The play should go on picking up as it proceeds. Introduction of the character should be reflected in climax or on the later part of the play. In case of children theatre the concept of flash back is not so useful. Things to be considered Time & Place TIME

PLACE

Real Time

Performance time

The Theatre

Physical surrounding of the play

Historical time

Time shown in the play

The play's universe

The kind of play eg fairytale

Experienced time

Time change in the play

Location

Place shown in the play

Methodology Making a 5 minute play  The actors of 2 team (Mandala and MINAP) were divided into 2 group where two members were from Mandala and two from MINAP  The team of actors were to prepare a story of 5 minutes and perform  The team leader, director, writer, set designer, costume were separated as Mandala and MINAP who were to write a story and read it out.

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Performance started  First performance was by the group of team leaders of Mandala Theatre. It started with a famous Nepali song followed by their story telling.  The 1st team of the actors was the next to perform  The 2nd Team of team leaders of MINAP told their story in both Nepali and English.  The 2nd team of actors from MINAP perform the play. Day 3: Schedule Time 8:45 9:10 – 9:55 10:00 – 10:15 10:15 – 12:00 12:00 – 02:00 02:00 – 05:00

Activity Registration Warm up Program for the Day Tea Break Scenography Workshop Actors Workshop Scenographers Workshop Actors Workshop Story Development Story Development

Remarks

Christian Clausen Jacques Sketching & Creating Models Developing a 5 minute Clown Act Christian, Jacque and Renchin Yonjan work with writers Writers continue with developing stories Actors and Scenographers leave

Report Warm up  Started with regular exercise Schedule for the day Set Design Warm up Design Process Assignment Work

Actors Warm up Clown Assignment Lunch Rehearsal

Writers Warm up Writing Meeting

The participants were divided into 2 groups  One group was of actors and musicians where as the other group was of team leaders, directors, set designers, and remaining teams.

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In the Actors and musician‟s room:  They were introduced about the clown act. It is the act done for entertainment. In this act there are no dialogues.  Then they were taught the acting of head bang in the wall which was followed by the act of head bang on the table due to slip of leg when we try to climb on it.  The slapstick act taught on the previous day was practiced again.  Then the actors were made to do a clown act being in a group of two on the spot where Jacques guided them.  At last, the actors of Mandala Theatre and MINAP were divided into 2 groups according to their organization and the activity to prepare a 5 minutes clown act was given to them. They could also use music in their act with the help of musician. In Scenography room: All of them were taught regarding the planning and designing of the sets, costume and props. The Set Designers Work Preparatory work: Timetable: Planned backwards from the premiere date containing: 1. Rehearsal plan for actors 2. Deadlines for assignments 3. Planning practical work on stage 4. Planning workshops BUDGET: Performance's budget for scenography and costumes and technical equipment CONTRACT: Agreement on scenographers working conditions:  TOR - participation in practical work  pay  deadlines for assignments MANUSCRIPT READING 1     

Experience reading: Reading or recitation of the text without prejudice in order to form your own pictures. Experience reading with sketching: Reading of the text while sketching the immediate images that come into mind. Scene Summary: Division of the text in scenes with page numbers and notes. Props list: Props list of all the things that occur in the text with page numbers and scene numbers Cast: Overview of all characters and explanation of their relationship.

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MANUSCRIPT READING 2 

  

Research 1: Research on the historical, political, religious and factual issues in the play and the play's contemporary Research on the author and his contemporary. Analysis and interpretation: Identifying the play´s plot and dramaturgical process using different analytical models. This also includes the characters interrelationship Overall sequence of images: Sketch - a picture of each scene Matching with director 1: Meeting with the director, presentation of preliminary notes, and adjustment by mutual agreement

IDEA - CONCEPT FORMULATION: Research 2  Research on venues physical conditions,  Research on music, literature, film etc.  Research on specific topics of the play. MAKING AN IMAGE BANK 1. Sketching: Colored drawings of each scene 2. Sketch Model in scale: Model in 1:20 or 1:10 in cardboard paper, wood, etc. with model humans in the same scale 3. Costume Sketches: Drawings of all characters in the play with examples of their individual characteristics 4. Lighting concept: Experiments with scalelight, flashlights or similar with the use of color filters. Colored drawings with suggestions for light requirements. 5. Dramatic Universe: Overview of the dramatic universe in order to see if it is coherent 6. Matching with director 2: Meeting with director Viewing the model, costume sketches and examples of lighting.

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DEFINITION OF CONCEPT:  Research 3: Experiments with 1:1 materials and technical solutions: Finance - budgeting Final determination of the dramatic universe: Including realistic proposals for all scenic solutions  Presentation Model: Model in scale with the colors, surfaces, textures and the main characters in 3d proposal for key scenes and scene changes in the play  Matching with director 3: Meeting with the director, actors and technical staff: Viewing the presentation model, costume sketches and examples of lighting. PRODUCTION:  Props production overview: Review of where and how the individual props must be made  Drawings for construction: Ground plan, elevation/section, perspective of the scenery and items to be produced to the play.  Costume drawings / material samples: Colored drawings of all costumes with details and material samples at the individual costumes  Agreements with the workshops: Timetable for completion of decorations and props OVERVIEW OF THE PRODUCTION PROCESS:  Making sure everything is made according to plan and design Sketching Activity In 10 Minutes: 1 Male 1 Female

Evil- Kind Kind- Evil

1. 10 Scale Model Human (Paper-tape-color) 2. 10 Scale Room for opposite character

10 sketches on each 10 sketches on each (20 min) (30 min)

Groups of 2 persons Scale - 1:10 i.e: 170cm= 17 cm

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Day 4: Schedule Time 08:45 09:00 – 09:25 09:30 – 10:10 10:15 -10:40 10:40 – 11:00

Activity Registration Warm up Presentation of short clown act

11:30 – 12:40 12:40 – 01:30 01:30 – 01:45

Presentation of scenography work Tea Break Actors workshop Scenography workshop Scenography workshop Actors workshop Meeting with writers Lunch Break Re-presentation of the clown act

01:45 – 02:05 02:05 – 03:00

Presentation of scenography work Story telling by writer and director

11:00 – 11:30

Remarks The activity given to actors on 18th Aug was presented Scenography activity

Activity given to participants Improving the clown act Story development After certain improvements MINAP and Mandala in a separate room

Report: Actors‟ team and Scenography team made the presentation of their activity of the previous day. In the actors act: There were many activities and some of the scenes were not appropriate as per the timing. Therefore, they were given time to remake it and present after lunch. In the scenography presentation Firstly, Jacques was made to divide the models prepared on the previous day according to their appearance perceived by him. Then various comments were made on it.  Most of the models made were of kind female and evil male which is most popular.  The models should be universally understood because we have to consider what the audience will perceive.  The most common symbols are considered to be used  One of the evil characters was quite confusing because of the color used in it. The color used was a happy/ good color  So while making a character, it should be powerful and understood universally.

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WORKING WITH OPPOSITES 1. Make a list of opposite qualities Physical

Psychological

Sociological

Tall – short

Love – Hate

Rich – Poor

Fast – Slow

Anger – Joy

Big City – Village

Hard – Soft 2. Make sketches of each qualities 3. Decide qualities for your figure or room 4. Apply the qualities to your figure or room Two from each category and magnify them. After lunch: First, the actors performed their clown act after improvements. Then, the secnography teams also presented their activity given for the day. And the writers had a story development meeting with Jacques, Christian and Renchin Yonjan. Day 5: Schedule Time 08:50 09:05 – 09:15 09:15 – 10:00 10:00 – 10:15 10:15 – 12:00 12:00 – 12:15 12:30 – 01:20 01:20 – 01:25 01:25 – 03:00

Activity Registration Briefing of the days‟ work Activity for the actors Activity for scenography team Tea Break Actors workshop Scenography workshop Story telling Lunch Break Showed the drama „Bathi Rani‟ Activity continued

Remarks Work on their own story and make a play Work on the scene, cast, props, equipments, etc that are necessary for the play Activity continued Final story told by writer to Mandala team But due to lack of the element Jacques and Christian wanted show, it was stopped

Report  The workshop started with briefing regarding the days‟ work. 

Today everyone will be working on their own project‟s story. The actors and the directors are working on the performance of the play. A rough play of the story was made along with deciding the characters to be played by each actor.



The other members, scenography team are given a task to make a list of all scenes in the play, props required, cast and their characters, all necessary equipments for the play including the materials needed in the tour. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Conditions to prepare a play 1. Scenes: ▪ Locations

4-5

▪ Scene (Important places in story)

10-11

2. Props ▪ List of props with no. of scenes 3. Cast ▪ Actors list ▪ Characters they will play ▪ Characters Relation 4. Stationary ▪ Transportation for tour ▪ Light ▪ Sound ▪ Transportation Mandala Theatre‟s writer, Rajan Mukarung, dictated the story to the actors and other team members of Mandala Theatre. Jacques and Christian showed video of the play „Bathi Rani‟. But as the video was not captured from the audience side and did not contain things that Jacques and Christian wanted to show, the play was not continued. They wanted to show the making of stage using less materials and the way of changing sets on stage. So, the activities given to the participants continued. Day 6: Schedule Time 08:45 09:05 – 09:15 09:15 – 10:30 10:30 – 10:50 10:50 – 12:10

Activity Registration Warm up Rehearsal by actors

12:10 – 12:50

Activity for scenography team Tea Break Activity continued for both the teams Performance by the actors

12:50 – 01:30 01:30 – 01:45 01:45 – 03:25 03:25 – 03:45 03:45 – 04:30 04:30 – 04:45

Lunch Break Sample sets prepared Drama performed by actors Tea Break Last session of the workshop Certificate distribution

Remarks Self warm up Work on their own story and make a play

Both Mandala and MINAP team on their stories As the result of the activity given 2 times Jacques and Christian

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Media Coverage: Attached here are the newspaper cuttings in which the activities and photo of Story Development and Production Process Workshop were covered.

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Annex-4: Details of Production Process Workshop Production Process Workshop‟s list of participants, daily schedule, reports, photos, media coverage, designs and sketches. Two separate workshops were continued in Kathmandu from 1st-6th November and in Janakpur from 7th-12th November. Workshop Schedule; Designs and sketches, photographs Day 1: Schedule Time 09:00 09:30- 10:05 10:10- 10:30 10:20 – 10:30 10:30 - 10:50 10:50 – 12:05 12:05 – 12:45 12:50 – 01:30 01:30 – 04:00

Activity Registration Meeting with the whole team Meeting of Jacques with actors Meeting of Christian with scenography team Tea Break Working on the set design Working on screenplay Lunch Break Work on screenplay continued Rehearsal by the actors

Remarks Regarding the day‟s work

Report: The workshop started with the meeting between all the team members, Jacques and Christian. In the meeting Jacques and Christian discussed on the working for the day and workshop. Jacques and Christian will be working with 2 different groups of actor and scenography. All the props and set materials were arranged after yesterday‟s discussion. Those materials were shown to Jacques and Christian. Some of the elements of the play had to be changed in order to make the play simple and easy. Today, writer will be staying with the actors and director so that if any new ideas come during the work, he can develop in writing. In the story, the egg of Hongrayio will be removed because it is creating lots of confusion. The magic of the hair has also to be made clear. The main origin of the story has to be known and made accordingly so that the theme of the story will not be affected. The story prevailing in Nepali culture was discussed and shared with Jacques and Christian. Little parts of the cultural story can be kept in the play. The original story should be understood by everyone in the team. As we don‟t have more time with us, everyone decided to go back to the previous story and work on it with small improvements. In case of set, the situation of the scene like inside and outside of the house, jungle, etc has to be made clear to the audience. It should not create any confusion. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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During the meeting of Jacques with actors the discussion on what will be the story and how to work with the screenplay was done. During the meeting of Christian with scenography team, there was a discussion regarding the props and their use in the play. The act with the props should be visible, clearly understood by the audience. After the tea break, the work on set design started. Actors were asked to start from the beginning and forget the work done before. The screenplay was developed scene by scene with new actions. The set design and the way of changing the set during the play were worked on. The screenplay was changed from the beginning. In the opening scene, small brother comes out of the house and starts taking care of the flowers in front of the house, where the butterfly comes. The big sister comes and gives him some work to do. Then the elder sister asks small sister to bring the cloths that they have woven till now. The small sister and the boy are told to collect the threads and manage it together. While working they keep on teasing each other. At that moment, Hongrayo comes to their home to take the cloths which he gave them to weave. As there were not the enough cloths he asked for, he takes the sisters away and beats the boy. When the boy wakes up he won‟t see his sisters. Then again the butterfly comes. The boy starts playing with that butterfly. All of a sudden the bumble bee comes and attacks the butterfly. When butterfly is dead the boy hits the bee and the bee will be injured. The boy comes to help the bee and ties his hair in the wings of the bee. The story was developed till this scene. Day 2: Schedule Time 08:50 09:10 – 09:20 09:30 – 09:45 09:55 – 10:15 10:15 – 10:30 10:30 – 12:15 12:15 – 01:00 01:00 – 03:30

Activity Registration Warm up Performance Break for actors Meeting with technical team Tea Break Actors developed the screenplay further Scenography team went for collection of materials Lunch Break Activity with actors Collection of materials

Remarks the work taught yesterday With Jacques and Christian

continued

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Report: The day started with warm up exercise by the actors. After the warm up, there was a performance of the play till the scene where the actors were taught the day before. Jacques gave some comments on the performance. The work was good. Tried well but some improvements are still required. The technical/ scenography team had a meeting with Jacques and Christian. In the meeting the responsibilities were divided as decided before and told to work on their respective field, like the set designers will work on sets only, the costume designer will work on costume fabrics and design where as the props designer will work on the preparation of the props. The responsibility was divided as follows: 1. Sets – Bijay Baral  Bamboo  Wood  String 2. Props – Pavita Rai  Tiger mask  Butterfly  Bees  Bird 3. Costume – Najir Hussain  Black Costume for 3 actors  Fabric collection for all 4 actors according to their characters  Design and stitching 4. Light – Umesh Tamang  Light stands  Set frames/ wings 5. Music – Prabin Khatiwada  Collect appropriate music  Edit sounds  Arrange final music Jacques helped in the further development of the screenplay. Today the development of the screenplay was from the scene we ended yesterday. When the boy helps the bee, bee will feel better and they become friends. When they are sitting together the bird comes and attacks the bee. The bee will be eaten by the bird. Then there arises a situation of fight between the bird and the boy. The boy hits the bird and bird gets injured. Seeing the pain of the bird, the boy helps the bird and tied his hair in the wound of the bird too. The boy will be hungry and the bird brings food for him. Then an old man comes in the screen. The old man is chased by the tiger. There will be small chasing by the tiger. Then the old man, by mistake, kicks the boy who is sleeping under the tree. The boy gets frightened first and fights with the tiger. Then the old man thanks the boy for saving him. They will have a small talk there, where the old man comes to know that the boy is heading towards Hongrayo‟s house to rescue his sisters. The old man gives alcohol and stick to the boy explaining about its use while rescuing his sisters. And they depart. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Day 3: Schedule Time 08:50 09:35 – 10:30 10:30 – 10:50 10:50 – 12:30 12:30 – 01:20 01:20 – 03:30

Activity

Remarks

Registration Performance by actors Preparation of the sets Technical team worked on sets and props Tea Break Development of screen play Preparation of Scenography Lunch Break

Till the ending

Activity continued

Report: The day started with the working of all members in their respective field. Set designers were making the sets as suggested in the meeting the day before. The props designer started making the props and costume designer was arranging fabrics and cloths for the casts. Actors started with the performance of the screenplay developed the day before. After the performance the screenplay was developed further. When the old man and the boy move towards their own way then boy reaches Hongrayio‟s home. The boy calls Hongrayio out of his home and tells that he was there to take away his two sisters. Hongrayio gets angry and they have a fight. Hongrayio keep the boy also in the jail where the sisters were kept. Hongrayio makes them work inside the jail. Hongrayio sits outside the jail and drinks alcohol. When the bottle gets empty, the boy gives the bottle, which he had, keeping his hair in it. Hongrayio drinks that and dies. When he dies, the 2 sisters and boy takes out the key of the jail form his neck and open the door. The play ends there when they are set free. Day 4: Schedule Time 09:00 09:20 10:15 - 10:35 10:35 – 12:30 12:30 – 01:15 01:15 – 3:30

Activity Remarks Registration Rehearsal by the actors Tea Break Rehearsal by the actors Preparation of scenography materials By scenography team Lunch Break Performance by actors Scenography work continued

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Report: The fourth day of the workshop started with the rehearsal by the actors of the whole play. The actors were rehearsing the whole day along with the discussions on necessary places. Some actions where changed and tried many action to check which one is much better. The scenography team was busy with the arrangement/ preparation of sets, props, costume, etc. the whole day. Set was almost ready by the end of the day. In case of props, butterfly and bumble bee were ready too. The making of vulture and the tiger was taking a bit of time. The mask of tiger was a difficult task. Day 5: Schedule Time 09:00 09:30 – 10:15 10:15 - 10:35 10:35 – 12:30 12:30 – 01:15 01:15 – 03:30 03:00 – 04:00

Activity Registration Rehearsal by actors Preparation of the props and sets Tea Break Activity continued Costumes tried by actors Lunch Break Preparation for the performance Last performance of the workshop

Remarks

Sets and props

Report: The day started with the preparation of the final performance for the workshop. As it was the last day of the workshop, Jacques and Christian wanted to see the act and suggest some necessary improvements. The actors performed with the prepared sets and props. All the necessary suggestions were given by Jacques and Christian to the whole team along with assigning the tasks to the responsible department and person. Then the actual performance was made by actors with all light, music, props, sets, etc. Renchin ma‟am also brought her 3 grand-daughters as an audience for the play. After the performance, the feedback of the play was also collected. There are many things on which the team has to work a lot. The props where to be made more proper and should look natural. The sound team should also work on the music. The smallest audience for the play liked the story. She also liked all the characters except Hongrayio. She liked the last scene of the play where the 2 sisters and the boy came out of the jail. She also said that the reaction of actor while playing with the butterfly was not friendly and the sound of bumble bee were not dangerous. Therefore, there need to be made some changes in the actions. The team has to prepare everything on 12th Nov. when Jacques and Christian will be back from Janakpur. That day‟s performance should be like a gift to them after this whole week‟s performance. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Design (Sketches) Curly Hair

The Clever Boy and the Demon

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Production Process Workshop in Kathmandu 31st October-6th November 2011

Meeting with Danish Experts and Mandala Members on 31st October

Discussion on story progress with Danish Experts on 1st November Jacques started working with actors

Christian working with scenographers

Acting and manipulating puppets

Preparing Puppets

Constructing Sets Jacques consulting with actors and director

Christian helping scenographers to design Tiger

Butterfl Family Theatre | Project Completion Report | May 2011 – January 2012 | y

Eagle

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Production Process Workshop in Janakpur 7th-12th November 2011

Pramesh Jha, actor of MINAP welcoming Jacques in Janakpur Airport on 7th November

Christian and Cultural Consultant Renchin Yonjan Meditating during the workshop Christian working with scenographers

Jacques and Christian working with actors and director

Constructing Sets Cow

Jacques consulting with actors Preparing sound for the play

Sewing the costume

Acting and manipulating puppets

Eagle and Parrot

Ready!!! !

Make-up for play

Actors are rehearsing the play Family Theatre | Project Completion Report | May 2011 – January 2012 | Thank You and Bye Bye 42

Annex-5: Details of Family Theatre Tour 5.1 Family Theatre Tour Plan Performance Date English

Nepali

Mandala Theatre Nepal District

Place of performance Russian Cultural Centre – 25th Nov. 9th Mangsir Kathmandu Kamalpokhari 10th Dec. 24th Mangsir Lalitpur Patan Durbar Square Hill Town Higher 11th Dec. 25th Mangsir Kirtipur Secondary School 12th Dec. 26th Mangsir Bhaktapur Dattatraya Temple 13th Dec. 27th Mangsir Kavre Panauti 14th Dec. 28th Mangsir 15th Dec. 29th Mangsir 16th Dec. 1st Poush 17th Dec. 2nd Poush 18th Dec. 3rd Poush

Dhanusha Gorkha Kaski

Shakti Ma.Vi.- Patechaur

5th Poush 6th Poush

Palpa

7th Poush 8th Poush

Kapilbastu

24th Dec. 9th Poush

Rupandehi

Everest Boarding School Tansen Taulihawa Butwal

25th Dec. 10th Poush 26th Dec. 11th Poush

29th Dec. 14th Poush 30th Dec. 15th Poush 31st Dec.

16th Poush

Sarlahi

Krishnadevi H.Sec. school, Malangwa

Sarlahi

Barhatwa bazzar

Rautahat Bara

Rautahat Bazzar Bazzar Area Pashupati H. Sec. School, Lahan Tribhuvan Chowk, Rajbiraj Nagar Palika Bhawan, Ithari Sabhagrih Biratnagar Bazzar area, Bhadrapur

Siraha Saptari

Nawalparas Parasi i

27th Dec. 12th Poush 28th Dec. 13th Poush

Mahottari Mahottari

Sunsari Morang

Makawanpu Taranga Sanskritik Samuha r - Hetauda Bara

R. N. H. S. S. Nagrain Mahendra Chowk, Jaleshwar Bardiwas Bazzar

Radio Chunumunu Pokhara

19th Dec. 4th Poush 20th Dec. 21st Dec. 22nd Dec. 23rd Dec.

MINAP Place of District performance

Jhapa

Simara, Dumbrawana Janakpur Chamber of Commerce, hall

Janakpur

Janakpur

Janakpur Chamber of Commerce, hall

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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5.2 Narrative Report of Family Theatre Tour During the three week long mobile theatre tour of Family Theatre Mandala Theatre Nepal and Mithila Natya Kala Parisad (MINAP) had performed their plays respectively Ghungrieko Kapaal (Curly Hair) and Budhiyaar Chhouda Aa Rakshasha (The Clever Boy and the Demon) 28 times in 21 different districts of Nepal. After the grand premiere in 2nd Mandala International Youth Theatre Festival organized by Mandala Theatre Nepal in Kathmandu both the plays were taken to two different tours. Mandala started its theatre tour with the play Curly Hair from Patan Durbar Square of Lalitpur. Then the play was viewed respectively by the audiences of Kirtipur (Kathmandu), Dattatraya Temple (Bhaktapur), Panauti (Kavre), Patechaur (Gorkha), Pokhara (Kaski), Tansen (Palpa), Toulihawa (Kapilbastu), Butwal (Rupandehi), Ramnagar (Nawalparasi), Hetauda (Makwanpur), Dumarwana (Bara) and Janakpurdham (Dhanusha). MINAP started its tour from Nagarain of Dhanusha. Then the play was performed respectively in Jaleshwor and Bardiwas of Mahottary, Malangawa and Barthahawa of Sarlahi, Gaur of Routahat, Nijgadh of Bara, Lahan of Siraha, Rajbiraj of Saptari, Itahari of Sunsari, Biratnagar of Morang, Bhadrapur of Jhapa and Janakpurdham of Dhanusha districts. Mandala covered 13 districts where MINAP covered 11 districts. Three districts were commonly covered by both the groups. Mandala performed two extra performances in Makwanpur district as contribution show. Most of the places Mandala and MINAP performed were open spaces where all kinds of people had attended the show. The audiences were from different walks of life such as students, children, guardians, teachers, merchants, artists and theatre lovers. Mandala performed two prosceniums during the tour. Among them one was in Butwal of Rupandehi district and another was in Hetauda of Makwanpur. Mandala performed the play there with light and sound effects. Similarly both the play had used lights equipment in Janakpur of Dhanusha district too. Though the performance venue was not a proscenium space we had to use lights there due to night time schedule. Beside these places, we performed our play only with sound effects. Audiences who viewed our performance in open space loved our play but those were feeling great who saw it in prosceniums. According to them they could easily feel the aesthetic of play while seeing in prosceniums. The most appreciated part of our play by audiences was our sets and puppets. Audiences, especially children, were being so excited by these elements of our play. Use of all natural materials while making sets, props and puppets was applauded by elder audiences too. Similarly some audiences noted that they found the appropriate music in the play. Story of the play was appreciated by cultural activists, journalists and teachers. The effort done by actors also got huge applauses. Some audiences thought that Curly Hair, the play by Mandala would be better if the use of alcohol by protagonist had been removed from the story. Though, they convinced themselves by regarding the action as a dramatic mode later. The most difficult thing to perform this play was regarding venue. It was good in prosceniums but sometimes we felt difficult while performing it in open space. Along with space we had to consider the weather as well. Due to the sudden blow of wind our sets (those were lighter and portable) sometimes happened to fall on the ground. It used to make us sensitive and attentive towards sets. But there did not occur any accident. Similarly sometimes we had to be stopped on the way due to strikes. We tried to send our daily progress report from the spot but we failed due to the load shedding problem and unavailability of network. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Family Theatre Tour: 10th-31st December 2011 1. Performance of Curly Hair in Lalitpur by Mandala Date: 10th December 2011, Saturday Venue: Patan Durbar Square, Lalitpur On the square stage, open space, Durbar compound surrounded by walls Time: 3:00 pm Number of Audience: 300 Type of Audience: Children from different age group, tourists and local peoples Local Coordinator: Krishna Bhakta Maharjan, Artist It was the beginning of Family Theatre Tour. We were performing the play 'Curly Hair' publicly for the first time after the premiere. As the venue was not new for us, we did our technical procedures easily there. We started our play among 300 audiences. The location itself carries a historic importance in theatre, so performing a play was not a unique matter there. But the form of our play and its essence was widely appreciated by the viewers. People liked our play because of its small crew and simple presentation. Use of less words and more physical gestures was another device of our play that people loved much. They liked our portable sets and puppets. The play was in Nepali language but even some foreigner tourists enjoyed our performance there. After the performance Mr. Satya Mohan Joshi, a well known cultural scholar of Nepal wishes his best for our program. 2. Performance of Curly Hair in Kirtipur by Mandala Date: 11th December 2011, Sunday Venue: Hill Town Higher Secondary School, Kirtipur, Kathmandu Open space surrounded by compound and buildings Time: 1:00 pm Number of Audience: 400 Type of Audience: Children, teachers and local peoples Local Coordinator: Rajan Maharjan, Principal Kirtipur was another destination for our performance of “Curly Hair”. The location provided for our performance was the playground of Hill Town School. Including children, teachers and local people, 400 audiences viewed the play with great interest. Most of our viewers praised the puppets and sets of the play. They also wished to see such play again.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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3. Performance of Curly Hair in Bhaktapur by Mandala Date: 12th December 2011, Monday Venue: Time: Number of Audience: Type of Audience: Local Coordinator:

Dattatraya Temple, Bhaktapur On the square stage, open space, compound surrounded by wall 3 pm 500 Children, families, tourists, pilgrims and local peoples Rabindra Puri

We performed the play ‘Curly Hair’ at Bhaktapur on a square stage of ancient temple Dattatraya, where almost the crowd of 400 people from different age group, praised the play. We faced an administrative problem there at beginning. Some Officers from the municipality office interrupted us to perform saying that we have not got authority to perform in their area without permission. Actually that was our mistake that we couldn‟t communicate with the local coordinator we appointed there. So, we apologized with them and requested for help. They gave us a chance and we performed there. The audience response was good in Bhaktapur. Most of the audiences liked the negative character‟s work in our play. They wished to meet him and appreciated his work. 4. Performance of Curly Hair in Kavre by Mandala Date: 13th December 2011, Tuesday Venue: Panauti On the square stage, open space, compound surrounded by wall Time: 3:00 pm Number of Audience: 500 Type of Audience: Children, families, tourists and local peoples Local Coordinator: Rabindra Puri Our last destination in Kathmandu Valley was Kavre. We performed our play on a square stage of Panauti Market. Approximately 500 people watched the play and responded it with huge cheers. Most of the viewers liked the story line of our play. They found it near to their childhood. They appreciated the actors' works on stage. Besides, they also appreciated the puppets of the play.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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5. Performance of Clever Boy and the Demon in Dhanusha by MINAP Date: 14th December 2011, Venue: RNHS school Nagarain, Dhanusha School compound, open space, compound surrounded by wall Time: 1:00 pm Number of Audience: 500 Type of Audience: Children, families, students, journalists, local peoples and Local consumer. Local Coordinator: Ashok Kumar Karna, Principal of the school. It was very good starting of the tour. Principal Karn made it too easy. There was a lot of students waiting for us as Karn had informed him a day before. The student welcomed us and also helped us to set up the stage. There was also a good mass of locals as there was weekly bazaar on the day. Peoples from the nearby village were also there. We started our show dedicating it to the former President of MITHILA NATYAKALA PARISHAD late Yogendra sah Nepali. It was our immense pleasure that the audience enjoyed each moments of the play. As there were the students of different village and consumers as well, it was easy to disseminate the massage to different village. Students and locals gave us positive responses. After our performance some children were interested to help us in wrapping up our stuffs. We thanked them and moved from there.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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6. Performance of Curly Hair in Gorkha by Mandala Date: 16th December 2011, Friday Venue: Shakti Secondary High School, Patechaur, Gorkha On the square stage, open space, school compound surrounded by wall Time: 12:00 pm Number of Audience: 150 Type of Audience: Students from school and college, teachers and local peoples Local Coordinator: Manju Aryal, Local Teacher Performance in Gorkha was our first experience of showcasing the play Curly Hair outside Kathmandu. We were excited and some kind of nervous regarding the probable reaction that may come through the audiences. We constructed the play stage on a square inside the school compound. At first we had targeted only students as our viewers but later on people started coming from nearer community. They seemed unaware towards our activities and one of them asked with us. We informed him that we are going to showcase a play. Then they started predicting about our performance. Some of them were conveying the message to their friends and neighbor. A teacher of that school was saying to his colleagues that we were going to perform a play with social messages and issues like HIV AIDS or alike. He was also cursing such groups who pretend to spread such message through the performance of lengthy and fruitless plays. According to him all these act are merely 'Dollar' oriented. But after watching our play the same teacher came to us and congratulated us for the nice performance. He said us that he found a new kind of thought in our performance. We asked him about the new thing he had found. Then he shared his experience that he had never viewed a play without any boring message and socio political issue. He also revealed that he found our play full of entertainment and fruitful for all age groups. Children were also happy to see our performance. A child of class 7 was asking with us when will we go there with another performance. Though the number of audience in Gorkha was little bit few we gained good reaction from there. Such positive reaction filled up more energy inside our team and we departed from there.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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7. Performance of Clever Boy and the Demon in Mahottary by MINAP Date: 15th December 2011, Venue: LCMHS School, Jaleswar Mahottary. In the school ground, open space, school compound surrounded by school buildings and wall. Time: 1:00 am Number of Audience: 400 Type of Audience: Students from different age group, teachers, Local businesspersons, and vendors. Local Coordinator: Dharmendra Jha, Local Social Activist It was a very cold day, but students of LCMHS School gave us a warm welcome. As Mr. Jha, local coordinator had coordinated well. We got there a good experience as all the students enjoyed a lot. After the completion of the show students of class 2-3 uttering the dialogue of The Clever Boy „patpatpatpat‟. There was a big crowd. Teachers also enjoyed the play. They gave us some feedback too and some of them praised us a lot. Even teachers had the very first experience of such type of show. The praised us for the stage management, music treatment, folk mithila arts and props setting. When we were wrapping up our sets and props some children were playing with Arrow and using the same dialogue. Some of them playing like clever boy and some of them were playing the role of The Demon. We packed our stuffs and moved from there. 8. Performance of Clever Boy and the Demon in Mahottary by MINAP Date: 16th December 2011, Venue: Bardiwas Primary School. On the square stage, open space, compound surrounded by wall Time: 1 pm Number of Audience: 400 Type of Audience: Children, families, local consumers and local peoples Local Coordinator: Hari Balampaki, Chairman, Local Development Training Centre District education office had announced to close the school for some days as there was sever cold those days. But we got a good crowd as there was weekly Bazar on the day. Audiences appreciated the play saying that they were never happened to watch such an enjoyable play in their location. Some of the children audiences were being afraid by the demon in the play. Most students and children enjoyed the happy ending of this play.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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9. Performance of Curly Hair in Pokhara by Mandala Date: 18th December 2011, Sunday Venue: Tara Kunja Secondary High School, Patanbesi, Pokhara Play ground, open space, school compound surrounded by fences Time: 12:00 pm Number of Audience: 500 Type of Audience: Students from different age group, teachers and local peoples Local Coordinator: Rabi Raj Basaula, Local Journalist Pokhara was the next station of our performance after Gorkha. We reached there before two days of our scheduled performance. It was because of the rumors of strike on following days. On the day of performance our local coordinator Mr. Rabi Raj Basaula took us to the school compound. Principal of the school warmly welcomed us. There we knew the fact that it was the same school where the previous play of this project, i.e. Baathi Raani had got the huge success. So, students and teachers were eager to watch our play. We built up our stage on the open playground. The teachers helped us to manage the audiences. They made the smallest students seat on the front row of audience line and we started our performance. At beginning all viewers were enjoying but when the evil character entered in the scene some smallest children started crying due to the fear. They couldn't actualize the dramatorgy of our play and feared. So, we had to replace them to a safe side. After the completion of performance we talked with some teachers and students. They were satisfied with our play. The principal suggest us to remove the alcohol matter from the scene. We couldn't talk with local people as they were watching our play through the fences. They moved from there with the completion of our performance. We thanked all and left the school for our next station. On our way we happened to meet with Mr. Saru Bhakta, a well known playwright and literary figure. He wished best for our program. We headed towards Palpa then.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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10. Performance of Clever Boy and the Demon in Malangawa by MINAP Date: 19th December 2011, Venue: Krishnadevi H.Sec. school, Malangwa School compound, open space, compound surrounded by wall Time: 2:00 pm Number of Audience: 500 Type of Audience: Children, students, journalists, local peoples and teachers. Local Coordinator: Rupesh Karna, chairperson, Janhit sewa Samaj Nepal It was a fantastic Day; little cold was there when we arrived in Malangwa, Sarlahi. The schedule was set to perform in Krishna Devi HS School. But there were only few students in the school, those who were come for tuition. Government had announced closed for the schools as there were bitter cold those days. We have to move here and there for a while to collect the students and other audience as well. We went in some private schools. The managements, who were very much known about Mithila Natyakala Parishad, helped us providing their students. It was a good crowd now. We had in other hand prepared the stage and other things. Now it was all set to play. We start our performance at 2 pm. Students from different level enjoyed a lot. So did the teachers. They thanked us a lot. They hadnâ€&#x;t experienced such a play before. Students of KG level were also explaining the drama in their own way. Some of them asked us to play again, but it was not possible, so we moved ahead promising them to come again and again.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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11. Performance of Curly Hair in Palpa by Mandala Date: 20th December 2011, Tuesday Venue: Preparatory Secondary High School, Tansen, Palpa On the square stage, open space, school compound surrounded by school buildings Time: 11:00 am Number of Audience: 300 Type of Audience: Students from different age group, teachers, film actors and medical students Local Coordinator: Dhan Singh Thapa, Local Social Activist Tansen Bajar of Palpa welcomed us with a newsof political strike. We spent a boring day in desolate Tansen. What we could do in that day was our publicity and we did that. We met different people there and invited them to watch our performance on next day. On the day of performance we reached the school at time and started building up our stage. Students were prying our activities through windows. We called up them to the ground and started our performance. Some local film actors and medical students also were there to see our performance. They all enjoyed our performance. Most of them told us that it was their first experience seeing such open play with good music system and sets. When we were wrapping up our sets and props some children came there and wished to play with our puppets. We persuaded them that those puppets are fragile in their structure and so can't let them play with. Even they were teasing and enjoying with our actors. We packed our stuffs and moved from there. 12. Performance of Clever Boy and the Demon in Malangawa by MINAP Date: 20th December 2011, Venue: open ground, Barhathawa On the open ground, open space, Time: 3:00 pm Number of Audience: 3,000 Type of Audience: Students from different age group, teachers, and Locals Local Coordinator: Rupesh Karna, chairperson, Janhit sewa Samaj Nepal Oh! god what a big crowd of students in such a bitter cold. The students of three big private schools arrived at a time when we started our show. The ground was big enough for the show but not as enough as it was needed to hold the crowd of more than 5 thousands. The uncontrollable crowd disturbs the play twice. We could hardly complete the show. But we got a good response from the audience. The show gave us joy and some lessons too. We decided to choose proper place that could handle even big crowd. We wrapped up our sets and moved.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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13. Performance of Curly Hair in Kapilbastu by Mandala Date: 22nd December 2011, Thursday Venue: Bal Mandir Orphanage Home, Toulihawa, Kapilbastu On the square stage, open space, compound surrounded by wall Time: 3:00 pm Number of Audience: 400 Type of Audience: Children, orphans, families, theatre artists, journalists, traders and local peoples Local Coordinator: Kalika Natya Samuha, Toulihawa Toulihawa of Kapilbastu was the coolest station we had ever visited during this program. We reached there at a cold night. Due to some miscommunication between our team and the local coordinator, we had to spend the night in a cold and unmanaged guest house. We were afraid of being sick by the cold but the warm hospitality of local people made us feel relief. We performed our play there after two days. As Toulihawa was a Terai village, we found there most people using Abadh Language instead of Nepali as their major language. But they said that they understood our performance. But we knew they had still confusion regarding our play. Most of them had the question about the message of our play. We explained that our play was just for fun and entertainment for families and children. They seemed unsatisfied with our answer. So, a drunken man caught up our play director and started frequently asking about the issue of our play. Then we realized that we have more people as our audience who takes dramatic activities only as a means of social factor to spread messages or raise issues. We asked him sorry for failing to raise any issue through our play. But some people were convinced that a play or dramatic activity merely can be source of fun or entertainment for families and children. Next day we moved from there. We had to reach Butbal on the same day. So we were going. Suddenly, a group of political ethnical activists appeared on the road and stopped us. They informed us about their program i.e. Road Strike for a day. Then we pretended being a media group that is reporting about their program. We took some photographs and video to make them belief. They became happy as their program will be covered by media, newspaper and television and that's why they let us move. We were just frightened by upcoming obstacles on the way.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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14. Performance of Clever Boy and the Demon in Rautahat by MINAP Date: 21st December 2011 Venue: Rice mill ground, Bara On the square stage, open space, Time: 1 pm Number of Audience: 400 Type of Audience: Children, players, journalists and local peoples Local Coordinator: Brijkishor Sahani/brajmohan jha, sunrise bank It was the ground of Rice Mill, where we performed in Gaur, Rauthat. It was the same place where the battle between Maoist and Madheshi party had taken place some years before. When we reached there, we found different group were playing cricket and other games. They donâ€&#x;t pay attention to us first, but when we started preparing stage they started coming closure. It took us an hour to set the stage and music. Now there was a good crowd of more than 300 people of different age group. People going by the road also came to the stage. Journalists, vender, students, players, all come closure and they were very much eager to see the show. Now the show started. Audience started drowning into the play. They were giving response to the every moment and scene. The show really becomes memorable for us. Journalists made good comments. Local FMs were airing the news of the show with expert comments. We thanked the president of FNJ, Rauthat and move for the next venue. 15. Performance of Clever Boy and the Demon in Bara by MINAP Date: 22th December 2011, Venue: open ground in bazaar area open space Time: 1:00 pm Number of Audience: 500 Type of Audience: Children, families, students, local peoples and Local consumer. Local Coordinator: Mahesh Das, Journalist, Avenues It was a good day, there was no much cloud in the sky and no fog on the earth, just mild cold was there when we reached in Nijgadha, Bara. Our venue was set in a school, but there was a very small ground and less audience. We moved back from there and started searching for next, better place. Nearby the school we could found a good square, open ground. We urged the students to come at the ground. They came and some teachers also came with them. We started setting the stage. Artist was getting ready by the time the nearby families, walkers by the ground, and players who were playing on that ground were moving at the stage. It was good crowd when the show started. They enjoyed a lot. After the show when we were wrapping up the sets a group of youths came and proposed us to perform on the occasion of Saraswat pooja. We gave our contact number and moved from there.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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16. Performance of Curly Hair in Butbal by Mandala Date: 24th December 2011, Saturday Venue: Green Valley Party Palace, Butbal, Rupandehi Proscenium performance, inside the hall with audience seats Time: 1:00 pm Number of Audience: 250 Type of Audience: Children, guardians, families, journalists, cultural activists, Buddhist Monks, film makers and local peoples Local Coordinator: Nepal Magar Yuwa Sangh, Butwal We performed our play in a program hall in Butbal. It was our first proscenium show during the tour so it took some time to manage the technical systems. We hanged up seven theatre lights around the stage and started the show. There were audiences from different walks of life such as children, guardians, families, journalists, cultural activists, film makers, Buddhist monks and commoners. It was our immense opportunity that old people from different ethnical communities were also there to watch our performance. As our play was based on a cultural story of Kirat Community, we felt glad to have a good number of audiences from the same community. They enjoyed our play very much. After performance we had taken some interviews with some old women from the Kirat Community. They admired our play and stated that our play succeeded them to memorize their childhood. We requested one of the monks to comment on our performance then he couldn't speak more words. He just said that the play was well knitted and he felt happy to see that. The local coordinator opined that our coordination part seemed some loose that they can't manage good many audiences for us. We promised them that we will strengthen our coordination part on coming days, thanked them and moved ahead. 17. Performance of Clever Boy and the Demon in Siraha by MINAP Date: 23th December 2011, Venue: Pashupati H. Sec. School, Lahan In the school ground, open space, school compound surrounded by school buildings and wall. Time: 1:00 am Number of Audience: 400 Type of Audience: players, students, locals, families and vendors. Local Coordinator: Roshan Gupta/ Matribhumi Vikas Manch It was a sunny day. We were enjoying the sun after almost three weeks. The government schools were still closed and pashupati schools were too. It was hard to get audience but fortunately we could collect a good mass in Lahan too. We performed in Prithiwi School where half dozen of cricket and football teams were practicing. They were our primary audience. We look for others too. For that we announced for a while when the set was being prepared. It was now more than 300 of mass when the play started. Thanks to the local fms as they were airing the news and advertisements from the very early of the morning. It was a great show as audience supports at each moments of the play. Family Theatre | Project Completion Report | May 2011 – January 2012 |

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18. Performance of Clever Boy and the Demon in Saptari by MINAP Date: 24th December 2011, Venue: Gajendra Chowk, Rajbiraj On the Road, open space, Time: 1 pm Number of Audience: 1000 Type of Audience: Children, families, local consumers, businesspersons, journalists and local peoples Local Coordinator: Shiv Pratap Shah/Radio Chhinmasta It was a great support from locals and journalists as they helped us to perform at the most busy place of Rajbiraj, Gajendra chowk. Local shut down their shops and paved place for us to perform. In few minutes there were dozens of audience. A dozen of journalists of local Medias and national one were there who helped us to set the sets. On the main road we performed the show with the great supports of hundreds of audience. First we had decided to perform in front of a temple but as the journalists suggest us to play at Gajendra chowk we went there. It was a good move as there was a lot of audience beyond our imagination.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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19. Performance of Curly Hair in Nawalparasi by Mandala Date: 25th December 2011, Sunday Venue: Jagannath Higher Secondary School, Ramnagar, Nawalparasi Play Ground, open space, compound surrounded by wall Time: 1:00 pm Number of Audience: 300 Type of Audience: Children, families, students, theatre artists, journalists and local peoples Local Coordinator: Purnima Magar, local radio journalist It became a difficult task to collect audiences in Nawalparasi. As there was a holiday on the day of performance on there, we found hardly a dozen children to watch our play at first. We firstly built up our set and stage on the playground of the school. Then we turned on our audience music. Some children arrived there and asked with us what actually is going to happen there. We informed them about our program. It was our immense pleasure that the same group of children became our correspondent ambassador then. They informed their families, friends and passing peoples. We knew that a group from nearer village is also eager to watch our play. Then we sent our people with our bus to drop in them. After 30 minutes there was a huge crowd in front of our stage. We started our play. All enjoyed. They gave us the same positive responses; we had collected from earlier locations. After our performance some children were interested to help us in wrapping up our stuffs. We thanked them and moved from there. 20. Performance of Clever Boy and the Demon in Sunsari by MINAP Date: 25th December 2011, Venue: Nagar Palika Bhawan, Itahari In the open ground, open space, compound surrounded by walls Time: 5:00 pm Number of Audience: 200 Type of Audience: Students, families, journalists and Locals Local Coordinator: Prem Bastola/ Naya Sansar It was not a good day for us. We performed just before a few mass. We couldnâ€&#x;t found a proper place and last decided to perform in the compound of municipality. Municipality gave us the time after the office. It was 4:30 when we reached in the ground. It was neither good time nor place. We could hardly collect a mass of 150 plus. By the end of the show it was too late. It was a great lesson for us. In spite of that we performed our best there and could collect good complement from the cream layer audience.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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21. Performance of Clever Boy and the Demon in Morang by MINAP Date: 26th December 2011, Venue: Open ground in bazaar area, Biratnagar On the square stage, open space, Time: 1 pm Number of Audience: 1000 Type of Audience: Children, students, journalists and local peoples Local Coordinator: Navin Karna/ Praveen Chaudhary What a great show! It was that kind of show that forced us to forget the remembrance of the show of Ithari. Thanks to the Rambhajan Kamat, local artist of Biratnagar, for his helping attitude and good coordination. He had collected the mass of more than 500. The mass was of mix age and area. Basically there were primary schoolâ€&#x;s children and artists as well as journalists. Most of them were very much familiar with MINAP and its performance. They helped us regarded us and placed us in their home, heart and paper. The crowd was exited. A very young child came and sit-down on the bag of laptop. The laptop got destroyed. Thanks to god that we had other option to play music for the show. We played music from other laptop and thus the show successfully completed.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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22. Performance of Curly Hair in Makwanpur by Mandala (Contribution show) Date: 27th December 2011, Tuesday Venue: Bansha Gopal Higher Secondary School, Hetauda, Makwanpur Play ground, open space, compound surrounded by wall Time: 3:00 pm Number of Audience: 500 Type of Audience: Students, theatre artists, journalists, teachers and local peoples Local Coordinator: Kapil Sharma, Theatre Artist This performance was not listed in our program schedule at first. But when we reached Hetauda, we found we had to spend three days there. Then we decided to perform some extra shows as our contribution shows in Hetauda. It was also because Hetauda is the place after Kathmandu where Mandala Theatre has more well wishers and audiences. As we have already performed our earlier plays there, the people of Hetauda are always positive and expectative towards us. We thought of grabbing the opportunity at time. We visited a remote village of Hetauda where the students of Bansha Gopal Higher Secondary School were waiting for our play. We performed there. But the response was something unexpected. Some grown up boys were not interested in our play rather they were making noise. We tried to talk with them after our performance but they were not interested in serious talking. We thought that it was all because of their growing up age; mischievous symptoms of teenage. But the smaller children, teacher and local peoples enjoyed the play. Some of them asked with us about the program and its goals. We explained all about the program and distributed some brochures of Family Theatre. 23. Performance of Clever Boy and the Demon in Jhapa by MINAP Date: 27th December 2011, Venue: Bazzar area, Bhadrapur Open space Time: 1:00 pm Number of Audience: 500 Type of Audience: Children, families, students, local peoples and Local consumer. Local Coordinator: Bhartendu Mallick, Ex. Mayor, Bhadrapur Municipality It was the last show of two weeks long tour. We were in mood to come back home as soon as possible because most of us were homesick. We were in hurry. We chose a place and set our stage. There were also good crowd. Most of the local donâ€&#x;t understand our language but they enjoyed a lot. They gave their laughter at each punch. They showed much interest on our show and that was also a very remarkable show for us. On such a long tour except Ithari we never had to bother for audience. Its really very positive sign for us that Mithila still loving theatre and performing art.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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24. Performance of Curly Hair in Makwanpur by Mandala (Contribution show) Date: 28th December 2011, Wednesday Venue: Reliance English School, Hetauda, Makwanpur On the square stage, open space, compound surrounded by wall Time: 2:00 pm Number of Audience: 300 Type of Audience: Students, teachers and school administrators Local Coordinator: Keshav L. Shrestha, School Principal It was also a contribution show of Mandala Theatre. Keshav Lal Shrestha, the Principal of Relliance English School, himself is a theatre lover. He regularly takes his students to theatre hall to show them plays and theatrical exercises. This time too, he was interested to make a performance of our play in his school. He requested us to perform the play for his students. We agreed and performed there. It was a better experience than the day before. However, we had some technical problem there. We had to stop the play for while due to electricity cutting. Similarly, a sudden blow of wind made our set fallen down on the stage as they were light and portable in size and structure. But our actors managed the situation. All students were enjoying our play. They were asking about our sets, props, puppets and story. A child from class 1 narrated the whole story of our play after seeing the performance. It was a good achievement for us. 25. Performance of Curly Hair in Makwanpur by Mandala (Regular Show) Date: 29th December 2011, Thursday Venue: Taranga Theatre, Hetauda, Makwanpur Proscenium performance, inside theatre hall Time: 5:00 pm Number of Audience: 300 Type of Audience: Students, families, theatre artists, theatergoers, journalists, teachers and local peoples Local Coordinator: Ujjawal Sharma, Theatre Artist After two contribution shows, it was our third and last performance in Hetauda. It was a proscenium performance. So, we were assigned in the hall with our task from the early morning. We built up our sets and fixed the lights. In evening we started our performance. The play was aesthetically better than other locations due to the proper lights and sound. Audiences from different realm viewed and enjoyed the play. Most of our audiences in this performance were adults. After performance Mr. Ujjawal Sharma, the local coordinator accepted that he missed to take his children to show such a play. He opined that this play should be performed again in Hetauda. We thanked all of them and departed from there.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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26. Performance of Curly Hair in Bara by Mandala Date: 30th December 2011, Friday Venue: Ex- Servicement Children Academy, Dumarwana, Bara Play ground, open space Time: 12:00 pm Number of Audience: 300 Type of Audience: Students, children, families, theatre artists, journalists, teachers and local peoples Local Coordinator: Bidur Khadka, local journalist This station was the local area of one of our actors. So, we found a good number of audiences there to watch the play. The performing location was a premise of children school there, so we had children as our major audience. Remained were families from the village, some theatre artists, teachers and journalists. There, too, our performance got a huge response. Students were chilling up with the actions. Most of them were impressed by the puppets we made. They were trying to touch our puppets after the performance. Some people asked about the relevancy of such plays and stories. We explained them. Even there too, some people were seeking the socio political message behind the play. We told them that it was primarily for fun and recreation for children.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Family Theatre Audiences

Students enjoying Curly Hair in Palpa

Performing Curly Hair in Kirtipur

Audiences in Janakpur

Audience in Test Performance in Kathmandu A furious child in Pokhara

Enjoying the play in Gorkha Performing The Clever Boy and the Demon in Lahan

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Family Theatre Tour Around Nepal with the plays ‘Curly Hair’ and ‘The Clever Boy and the Demon’ Curly Hair in Nawalparasi

Mandala performing Curly Hair in Panauti

The Clever Boy and the Demon in Bara

Curly Hair in Gorkha

MINAP performing The Clever Boy and the Demon in Itahari The Clever Boy and the Demon in Biratnagar

The Clever Boy and the Demon in Lahan

Curly Hair in Pokhara

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Annex-6: Premiere and Closing of Family Theatre Performance in Kathmandu (Premiere) Date: Venue: Kathmandu

25th November 2011, Friday Russian Centre of Science and Culture, Kamal Pokhari,

Time: Number of Audience: Type of Audience:

Proscenium Performance, inside the theatre hall 4:00 pm 300 Invited children, families, journalists, theatre artists, celebrities and others

On 25th November, 2011 both the plays of Family Theatre was premiered in Russian Centre of Science and Culture, Kamal Pokhari, Kathmandu on the occasion of 2nd Mandala International Youth Theatre Festival. The program was started with an introduction of Jacques S. Matthiessen by Cultural Consultant Renchin Yonjan. Performance of “Curly Hair” was followed by “The Clever Boy and the Demon”. Viewer seemed happy to see such type of drama. The team leader of Mandala Theatre ended the program by announcing the start of tour in different places of Nepal.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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Performance in Janakpur (Closing Ceremony) Date: Venue: Time: Number of Audience: Type of Audience: Local Coordinator:

31st December 2011, Saturday Ram Janaki Temple, Janakpurdham, Dhanusha On the removable square stage, open space, surrounded by wall 7:30 pm 2500- 3000 Children, families, theatre artists, journalists, pilgrims and local peoples Mithila Natya Kala Parisad, Janakpurdham, Dhanusha

The number of audience we faced in Janakpur is rare in our theatrical career. Yet, it was a joint closing ceremony of Family Theatre by Mandala Theatre and MINAP; the ceremony got a huge inspiration and support. On the courtyard of Janaki Temple we performed our play on the removable stage prepared by MINAP. Our performance was followed by MINAP's. People, who usually speak different language (Maithili) than us, liked our play. The unrelenting crowd of audience was prying us from different corners. As we finished our performance, the audiences gave their huge applauses for the play. Later, we talked with some of them. They admired the play. They, who hadn't got chance to see such different play in their history, wished some more plays focusing on families and children. As it was the closing of this project the team leaders and directors thanked all for their support and wrapped up the program.

Family Theatre | Project Completion Report | May 2011 – January 2012 |

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