Kathmandu International Theatre Festival 2012 November 23 to December 7
Kathmandu, Nepal gurukul@wlink.com.np www.aarohantheatre.org 23 November to 7 December
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Kathmandu International Theatre Festival 2012
Kathmandu International Theatre Festival 2012 2 23 November to 7 December 23 November to 7 December 3 Kathmandu International Theatre Festival 2012
LANGUAGE AND DURATION
Festival Schedule
60 mins, Hindi
60 mins, Nepali
90 mins, Nepali
Kafka: Ek Adhyaya
Museum of Million Hamlets
WEDNESDAY DECEMBER 05
Actors' Studio
One World Theatre
Ensemble Kashmir Theatre Akademi
The National Sami Theatre
A Bird of Two Worlds
Kalyani Kalamandalam
CREA
80 mins, Nepali and Khas
90 mins, English
65 mins, English
Mayadevika Sapana and Bhopal will be staged at 4:30 p.m. only.
Mandala Theatre
Epic Actors Workshop and Bond Street Theatre
Best of Kolkata Campus
Shamayel Theater Academy
R.A.A.A.M
55 mins, Estonian with English Subtitles 55, mins, Persian with English Subtitles
Taranga
75 mins, Nepali
Bhopal will be staged at Nepal Academy Hall, Kamaladi, Kathmandu.
Sunkeshari
Off for Some Days
TUESDAY DECEMBER 04
FRIDAY DECEMBER 07
Solo
MONDAY DECEMBER 03
Bhopal
Amar Singh ko Khojima Amar Singh Natak SUNDAY DECEMBER 02
THURSDAY DECEMBER 06
Vivadi
AarohanGurukul
Dr. Anuradha Kapur
Nisha Sharma, Sunil Pokharel
Anup Baral
Deborah Merola
Bhawani Bashir Yasir
Haukur J. Gunnarsson
Andrey Spiridonov
Santanu Das
Aude Maréchal
Rajan Khatiwada
Joanna Sherman
Parnab Mukherjee
Seyed Hodjat Tabatabai
Ervin Õunapuu
Ujwal Sharma Bhandari
Theatre in the Cyberage – An International Seminar 11 a.m. to 4 p.m. , Union House, Anamnagar, Kathmandu
90 mins, Nepali and English Nepali Aama
FRIDAY NOVEMBER 30
70 mins, Kashmiri and Hindi
45 mins, Norwegian and Sami With English Subtitles
Trunouve
My Home Is In My Heart
WEDNESDAY NOVEMBER 28
75 mins, Russian with English Subtitles
60 mins, Bengali/ Hindi
40 mins, English
THURSDAY NOVEMBER 29
The Trial of Lucullus
Tales, Theatre and Puppets
TUESDAY NOVEMBER 27
1. 2.
DIRECTOR
From Peace in the Home to Peace in the World A Painting Workshop and Exhibition, 12:00 noon to 4:00 p.m.
Once More upon a Time:
Jeevit ya Mrit
Dreams of Mayadevi
Manushi: A Women Alone & Others
SATURDAY DECEMBER 01
THEATRE COMPANY
COUNTRY
Nepal
USA
India
Iran
Estonia
Hetauda, Nepal
Nepal
Nepal
Kashmir, India
Norway
Russia
Kolkata, India
France
New Delhi, India
Nepal
Inauguration of the Festival by Rt. Honourable Prime Minister of Nepal Dr. Baburam Bhattarai 3:00 p.m., Mandala Theatre, Anamnagar, Kathmandu.
PLAY
MONDAY NOVEMBER 26
SUNDAY NOVEMBER 25
SATURDAY NOVEMBER 24
FRIDAY NOVEMBER 23
DATE
Venue: Mandala Theatre, Anamnagar, Kathmandu1 Performance time: 12:00 noon and 4:30 p.m.2
November 23 to December 7, Kathmandu, Nepal
Kathmandu International Theatre Festival 2012
Kathmandu International Theatre Festival in Retrospection Inception Apart from the regular national theatre festivals, Aarohan-Gurukul successfully organized NIB Theatre Festival in 2004 in association with International Theatre Institute Nepal Chapter which featured plays from Nepal, India, and Bangladesh, and Ibsen International Theatre Festival in 2006 which included plays by nine theatre groups from Nepal, India, Pakistan, Bangladesh, and Norway.The active participation and support of the audience, theatre critics, media persons, and theatre lovers during those festivals encouraged the group to organize international theatre festival every two years. Kathmandu International Theatre Festival was an attempt to materialize the same commitment. The first edition of this ambitious project was Kathmandu International Theatre Festival 2008. Kathmandu International Theatre Festival 2008: An Overview The 17-day long Kathmandu International Theatre Festival 2008 festival, organized from 11 to 27 November 2008, included performances by groups from Nepal, UK, India, Bangladesh, USA, Norway, Denmark and Thailand. Every play had saw performances, one in the day and another in the evening.The following is a brief introduction of the groups, their performances, and the highlights of the festival.
The Narrator Welcome to KITF 2012. We passed through some difficult days recently. We had to leave the place where we were located for the last ten years, and finding a new suitable place took more time than we had assumed. We had to stop our regular activities for almost a year, and our artists had to survive on their own. But, as we had announced this festival two years ago, we planned to go ahead with it despite all the difficulties. Nevertheless, this festival has given us an opportunity to come together again. These days, we are planning, working, and dreaming together once again, as we did during the early days of Aarohan-Gurukul a decade ago. As a festival of international level, this is the fourth, and as the Kathmandu International Theatre Festival, it is the third. This has been a wonderful experience for me, for all the theatre artists, and, I believe, also for the Nepali audience. And, as I have mentioned previously too, I have never been alone in this journey. I have always had the support of my incredible friends, and this dreamlike journey has been possible only because of their support and love. We are looking ahead to start all over again, and are very hopeful that we will be able to meet regularly as we have done before. At this moment, I welcome all the participants of Kathmandu International Theatre Festival 2012. I am afraid, there might be some shortcomings in our hospitality this time, and I hope you wil understand us. I will always remain grateful to all the individuals and the organizations who have generously supported us in making this festival a success. And, we are grateful to Mandala Theatre for their immense support and co-operation. We have taken them as the co-organizers of the festival. Sunil Pokharel Festival Director
Kathmandu International Theatre Festival 2012
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23 November to 7 December
The first day of the festival (November 11) included the performance of Dreams of Peach Blossoms (directed by Sunil Pokharel) by Aarohan Theatre, Nepal. The play written by Prof. Abhi Subedi was an attempt to capture the indigenous tradition of drama and music in a symbolic form through the use of the poetic language and images. It projected the complex and somber story broken with jerks by the tourist guides who dramatize their relationship with the cultural heritage and the mercerization of the serious ideas and icons of time and place. The second day (November 12) was followed by Eloquent Protest (directed by Hazel Roy) by Feelgood Theatre, UK. The production was a fusion of music, poetry, and drama turned into a moving reminder of the price of war. The third day (November 13) saw the performance of Bhelua Sundari (directed by Saidur Rahman Lipon) by Centre for Asian Theatre, Bangladesh, which remained one of the audience’s favorite of the festival. An experimental theatre, it presented love stories from the Ballads of East Bengal. On the fourth day of the festival (November 14), Ritwik theatre group from India performed Fulamoti (directed by Goutam Roy Choudhury), emphasizing the fact that man can’t last long by refuting the basic truth that the survival of the body and entity has its roots in the fertility of soil. Bimaar & Bade Bhaisaab (directed by Bharti Sharma) by Kshitiz, India, performed on the fifth day (November 15) were adaptations of two stories by celebrated writer Sadat Hasan Monto. The short plays attempted to delve deeper into human psychology and relationships. On November 16, i.e. the sixth day of the festival, Parnab Mukharjee presented his solo performance entitled And Dead Trees Give No Shelter (directed by Parnab Mukherjee) a production of Best of Kolkata Campus, India. It also was an experimental work dealing with issues like women’s rights, humanity and loneliness. On November 17, Hanglai (directed by Y. Rajendra Singh) by Panthoibi Natya Mandir, Manipur, India, was performed. The play was based on a traditional myth of Manipur, India. It was presented in the form of 23 November to 7 December
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Kathmandu International Theatre Festival 2012
marionettes. Happiness directed by Heather Harpham, USA, was performed on November 18, a play that explored the euphoria and fear we face as physical beings who are immensely fragile. Nati Binodini (directed by Amal Allana) by Theatre and Television Associates, New Delhi, India, was performed on November 19.This exceptional theatre adaptation of a 19th century Indian actress Binodini’s authobiography “Aamar Katha” was yet another audience’s favorite of the Festival. On November 20, Oglethorpe University and Relativity Theatre, USA performed Miss Julie (directed by Deborah Merola), the famous play by the celebrated Swedish playwright August Strindberg, with some modern interpretations. On November 21, a Nepali play, Hajurbako Katha (directed by Khagendra Lamichhane) by Shatkon, was presented. This second solo performance of the festival told the touching story of different generations of Nepalis who have been fighting as mercenaries in a number of wars, as British-Gorkha soldiers in the World War I and II, or in recent Afghanistan. Woh Khali Mukha Dekhai Chhi (directed by Anil Chandra Jha) another Nepali play by MINAP, Janakpur, was presented on November 22. The play highlighted the dark sides of the dowry system and tried to search ways out of it. On November 23, A Bit Above Earth, USA, performed Circle Course (directed by Mira Kingsley). Described as the dance/theatre excavation of the last flight of famed aviatrix Amelia Earhart and her navigator Fredrick Noonam, the play provided an unexpectd look at those rare souls who dare to live impractical lives in a practical world. Oppland Fylkeskommune, Norway, on November 24, presented Johan Sara in Pictures (directed by Morten Hovland). It was a musical performance by the Sami joiker and composer Johan Sara, Saxophonist Kristin Sevaldsen, and dancer/ choreograhper Tine V, with a moving backdrop of Sami life. Max and Mia, Denmark, performed Hungry Tigers (directed by Else Marie Laukvik) on November 25. This comic, sureal cabaret, with live music ranging from jazz standards to classical favorites, blended physical performance and songs, and created an intimate and hilarious evening about relationships, food and the tiger in all of us. 26 November, the second last day of the festival, saw the performance of Wesandon, the Lost Track to Nirvana (directed by Janaprakal Chandruang) by The Moradokmai Troupe,Thailand.This story adapted from biography of the Buddha in his last life before he was born as the Buddha was a Thai contemporary play with live music. Aarohan and Karnali Theatre, Nepal performed Karnali Dakkhin Bagdo Chha (directed by Sunil Pokharel) on November 27, the last day of the Festival. This improvised play was based on socio-cultural realities and problems of Mugu District, the remotest district of Nepal, and remained yet another audience’s favorite of the festival. Apart from the regular theatre performances, an art exhibition entitled “Journey of Liberation” was organized during the festival that showcased joint work of renowned artist Kiran Manandhar and talented photographer Dipendra Bajracharya. Similarly, discussions on theatre were carried out throughout the festival. Kathmandu International Theatre Festival 2012
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23 November to 7 December
Similarly a multidisciplinary artistic performance called “Divinity of the Common Life” was organized at the Open Theatre, Khula Manch, on November 7. Another important aspect of the festival was artist Kiran Manandhar’s painting based on the performances throughout the festival. He would be in the theatre with his canvas, colors and brushes during the noon performance of every play, and would paint his impressions of the play. The paintings were presented as a gift to the theatre group after the evening performance of the play. The festival was supported by the Royal Norwegian Embassy, B. P. Koirala India-Nepal Foundation, Aliance Francaise Kathmandu, Cultural Corporation Kathmandu, Bank of Kathmandu, Everest Insurance Company, Shri Lunkaran Das - Ganga Devi Chaudhari Academy for Art and Literature, Spey Livet, Nepal Investment Bank Limited, Music n’ Expressions, Ujyalo F.M., Corona Int’l Foundation, Maitri F.M., Star F.M., Radio Audio, Cable Television Network, Music Nepal Kathmandu, National Forum of Photo Journalists,Yeti Airlines, and Dreams and Ideas. Kathmandu International Theatre Festival 2010: An Overview Encouraged by the huge support of all and successful organization of Kathmandu International Theatre Festival 2008, Aarohan-Gurukul enthusiastically prepared for yet another international theatre festival, and the result was Kathmandu International Theatre Festival 2010 which was much larger in scale compared to the previous festival. It included the participation of more international theatre groups and a much bigger audience. The 22-day festival brought together plays and performances from 17 countries including Nepal. A brief introduction of the groups, their performances, and the highlights of the festival is given below. The festival kicked off on November 17 with a performance of Agniko Katha (directed by Sunil Pokharel) by Aarohan Theatre, Nepal. The play written by Prof. Abhi Subedi was an exploration into the climate of uncertainty and burning prevailing in Nepal during the period of conflict. The second day (November 18) was followed by Pacotille (Cheap Junk) (directed by Aude Marrechal) by CREA, France. The play, targeted to the young audience primarily, was based on a succession of a dozen of scenes connected between them by a vital lead: a small magic box. The third day (November 19) saw the performance of Death of a Scarecrow (directed by Adam Darius and Kazimir Kolesnik) by the Unique Physical Theatre, Finland. The play embraced a spectrum of themes veering from the startlingly dramatic to the outrageous comic. The fourth day of the festival (November 20), say two performances: one by an ensemble group from Argentina, Chile and India, and the other by Niksa Eterovic, Germany. Act Without Words (directed by Manoj Mathai) by the ensemble group put together two short plays by Samuel Beckett. A James Joyce Cycle in Three Parts, a production of the German group and directed by Niksa Eterovic, was a play on three phases of James Joyce’s life: first, Joyce as a young man who strongly defied social conventions and disapproved of the form of religious compulsion and bigotry he experienced not only in church but as well in school and at home while living in Ireland; second, stirring experiences Joyce as well as his wife and son had with Joyce’s daughter, Lucia; and, third, based on seven stories from Joyce’s collection, Dubliners. Similarly, on the fifth day (November 21) too, two plays from groups of Srilanka and USA were performed. A Wonderful Day (Director: Chamika Hathlahawaththa) by Audio Visual Creation and Experimental Forum (Sri Lanka) was a light story of two young people trying to spend a Sunday with a very small amount of money in their hands. Let It Be Art directed and performed by Ronald Rand (USA) was a play based on the life of Harold Clurman, the renowned American theatre critic. 23 November to 7 December
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Kathmandu International Theatre Festival 2012
On November 22, i.e. the sixth day of the festival, Artizani, Slovenia presented The Wiard of Oz directed by Irena Rajh Kunaver. The performance was a lively and colorful attempt to retell the well known story without text, and full of movement. On November 23, Kiss of the Spider Woman (directed by Deborah Merola) by The Ride across Lake Constance (USA) was performed. The play based on Manuel Puig’s celebrated novel, brought forth a section of the story of Argentina’s “Dirty War” in which thousands of people were either disappeared or killed by the right-wing military. Andre and Dorin directed by Inaki Rikarte (Kulunka Theatre Company, Spain) was performed on November 24, a play that explored the life of a lovely couple ultimately turned silent by Alzeimer. This exceptional production remained one of the audience’s favorite of the Festival. Nightwind (directed by B.J.Dodge) by ImaginAction, USA, was performed on November 25. A solo performance by Hector Aristizabol, it was based on his true story of being arrested and tortured by the US-supported military in Columbia. On the same day, Russian play Morphine by A Bird of Two Worlds (director: Andrey Spiridonov) was also performed, a play about the disintegration of the person under the influence of narcotic drugs. On November 26, Artists for Peace, UK, performed The Messenger: A Tribute to the Life and Spirit of Nina Simone (directed by Hazel Roy). A play with dialogues and songs, it told the sotry of Nina Simone’s development as a black woman artis int eh segregated world of America in the 1950s and 60s with her music providing a backdrop to the struggle of the Civil Rights Movement. On November 27, an Indian play, John Gabriel Borkman (directed by Anuradha Kapur) by Vivadi, New Delhi, was presented. The wonderful adaptation of Henrik Ibsen’s play remained yet another audience’s favorite of the Festival. The trial of Wantong (directed by Chang Janaprakal Chandrung), a play by Moradokmai Theatre Troupe, Thailand was performed on November 28. This was a successful attempt to retell an ancient Thai story in a Brechtian style. On November 29, JSS Kalamandapa, Mysore, India, performed Chitrapata, a folk version of Ramayana, where Suparnakha returns as a childhood playmate and destroy’s Sita’s peace by making her portry a picture of Ravana, which makes Ram Suspect her chastity again. Centre for Asian Theatre, Bangladesh, on November 30, presented Kafka’s Metamorphosis (directed by Kamaluddin Nilu). An experimental production of the masterpiece, this play brought together the themes Gregor Samsa’s story, Kafka’s life, and the possibility of seeing all these things in a metaphorical light. Mass Foundation, Pakistan, performed Akhhiyan Walio (directed by Aamir Nawawz) on December 1, a story about the hypocrisy of the society which tried to show how people are blind to their rights and how blinds can see what people ‘with eyes’ cannot see. December 2 saw the performance of Opekkhoman (At the Threshhold) (directed by Ataur Rahman), a play by Nagorik Natya Sampradaya (Bangladesh). An experimental play, it intermingled Ibsen’s A Doll’s House and An Enemy of the People, and Syed Shamsul Haq’s acclaimed verse play, Irsha (jealousy), and brought together characters all of whom are lonely but believe in new transformation of life. On December 3, Shamayel, Iran, presented And Men Always Come Back Home (directed by Abdollah Barhasteh Yazdi). Based on the Sophoclean trilogy of Orestes, it narrated the story of hatred, vengeance Kathmandu International Theatre Festival 2012
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23 November to 7 December
and duty of a king, and tried to see it in the contemporary light. On December 4, Srijana Sewa Samity, Sikkim (India) performed Siddartha Gautam Dekhi Buddha Samma…Ek Yatra ( directed by Bipin Kumar).The play was an attempt to look at the conflict surrounding the Buddhist Sangha right from its day of inception. Prison directed by Kamaluddin Nilu, a production of Beaivvas: The National Sami Theatre, Norway was performed on December 5. A spellbinding solo performance by Anita Suikkari, the play told the story of a woman in dark prison cell. Suina Karnalika (directed by Sunil Pokharel) by Karnali Natya Samuha, Nepal was performed on December 6. In a dreamlike performance, the play presented Karnali as a region of possibilities and potentialities unlike the regular image of scarcity, poverty and disease. December 7, the last day of the festival, saw the performance of Colombo Colombo: The Story of Your Coffin (directed by Indika Fernando) by Theatre Plus, Srilanka. A tragic-comic experimental piece, it told the story of relationships in a war torn island. Each performance was followed by an interaction with the director and actors the following day. Apart from the theatre performances, the festival brought together other various activities. For instance, a musical concert “Melodies and Rhythm” by Sukarma, the popular folk-classical band of Nepal, was organized as a part of the festival on December 4. Similalry , a number of theatre workshops were organized during the festival, which gave Nepali actors and theatre practitioners an opportunity to learn from and interact with international experts and artists. These included “Master Class Workshop in Physical Theatre” by Adam Darius and Kazimir Kolesnik on November 18, “The Art of Transformation” by Ronald Rand on November 19, and workshops on the “Theatre of the Oppressed” by Hector Aristiaabal (November 26, 27, 28) and by Susan Quick and Anthony Mcgovern (November 29, 30 and December 1).
Summing Up One might need some more time to review the real output and contribution of the two editions of Kathmandu International Theatre Festival to the theatre fraternity in Nepal and elsewhere. But one can claim with assurance that it definitely has strengthened the networking of theatre groups in an international arena and promoted alliance among theatre artists. In addition to that, it also has helped immensely in exchanging diversity of styles and systems in theatre around the world, and in exploring the new idioms of theatre. As Aarohan-Gurukul readies itself to organize Kathmandu International Theatre Festival 2012, we look ahead with enthusiasm and anticipation to newer plays with newer styles and newer voices, plays that stimulate and challenge our thoughts, plays that force us to think and rethink everything all over, and, on top of all, plays that heal the wounds inflicted upon us in the distant and the recent past. – Prakash Subedi
(Note: Information and descriptions of the plays and performances discussed in this article have been compiled from the previous festival brochures and several issues of Nepathya, a theatre magazine published by Aarohan-Gurukul).
23 November to 7 December
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Kathmandu International Theatre Festival 2012
have sought to project in the play. November 23 4:30 p.m. Mandala Theatre Hall
Aarohan, Nepal
The Playwright
Mayadevika Sapana
Prof. Abhi Subedi is a playwright, poet and academic. He has published over a dozen books on various genres of literature and cultural studies in Nepali and English. His plays have been published in Nepali and English translation. Dr. Kapila Vatsyayan had this to say about his plays (“Fire in the Monastery"): “… Dr. Subedi took upon himseL“ to look at another era, another cultural ambience and in the backdrop of an acute consciousness, of imbalances, perhaps chaos and also of violence. What does the writer do? The writer's both skill and power lie exactly in the oblique statement. The oblique statement which makes the tacit more articulate by the very nature of its uniqueness, and I think this is what he has succeeded in doing in terms of taking upon himseL“ the life around the fire in the monastery…."
The Play The play blends dream with reality. The dream scene and the light and shadow effect, the moonlit night and darkness create a surrealistic effect. But the play is an attempt to capture the intensity of the decade-long conflict Nepal recently passed through. Principally, it dramatises the predicament of women in the conflict affected areas. The mother's visit to the battlefield and her direct encounter of the gruesome scene, her encounter of the wounded youths of the same age as her son Kale who has disappeared, make a blend of the raw human suffering and love, affection and pain.
The Director
The humble life of Mayadevi and the old man, who has lost his hand in the ‘bigger' war of the region, and the difficulties faced by women due to the war are brought under sharp focus in the play. The death of Mayadevi's husband in the war remote in time and place is contrasted with the war raging around them at the moment. The futility of killings, and the irony involved in the youths' search for identities in a state of confusion shows that the battle has not created a clear picture of the times. The only impact we know of the war is summed up in Mayadevi's words – it is easy to flee in the moonlit night but difficult to hide, and you are all fighting an absurd battle, you are not sensitive to the value of human life. But dreams continue and battles continue to be fought in the unknown regions of the earth and the minds of men and women. The play opens with an ex-army man, an aged person, who has lost one of his arms in a battle fought somewhere in the Indic region. He is speaking in the twilight zones of history emulating the parades of his past that is engraved on his body and mind. He is standing outside the small hut of a woman named Mayadevi whose son disappeared six months ago and she is hoping that he will return.
Director's Note The State-Maoist war of attrition in Nepal brought misery to many, but women became the silent sufferers. They became active in the areas that gave continuity to life, but ironically, they became both the bread earners and sufferers. I have empathetically worked to project the power of an old woman who blends dreams, resolutions, agonies and activism in a humble way. She philosophises existence and that is what I Kathmandu International Theatre Festival 2012
The political situation has changed. What is the place of silent Mayadevis in the new context? Will it be the repetition of the past: women as forever sufferers? I wish Mayadevi in the play would not replicate the predicament of Mayadevis outside in the days to come.
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23 November to 7 December
Sunil Pokharel's impact on modern Nepali theatre is very remarkable. Ever since he started his career in 1978, even before he graduated from the National School of Drama in 1987, Sunil Pokharel has continuously worked on theatre as an actor and director. He has directed many important plays, both Nepali and foreign, over the years. Sunil Pokharel and his Aarohan Theatre Group started a work of great historical importance in 2003 when they started a drama school at a modest level called Gurukul after the Indic tradition of apprenticeship. The school has been the most happening theatre centre in Kathmandu. Similarly he initiated the establishment of eastern regional theatre centre in Biratnagar (The second largest city of Nepal). Both of the centers, by creating space for theatre workers who come and prepare plays there, have created a symbolically most significant alternate spaces. His identity is his continuous theatre journey. For his continuous dedication in promoting Nepali theatre culture, Nepal Government has recently awarded him with National Talent Honour.
Cast and credits On Stage Mayadevi: Shadow: Lahure: People with weapons: Young boy: Mayadevi in dream: Maids: Soldiers and Youths: 23 November to 7 December
Nisha Sharma Pokharel Sarita Giri Basant Bhatta Saraswati Tharu, Bholaraj Sapkota, Bipin Karki, Prabin Khatiwada, Sajan Thapa Magar, Suresh Chand, Saugat Malla, Aruna Karki. Rajan Khatiwada Pasupati Rai Saraswati Chaudhari, Aruna Karki, Samuna K.C. Saugat Malla, Suresh Chand, Saraswati Tharu, Bipin Karki 11
Kathmandu International Theatre Festival 2012
Off Stage Set Construction: Song: Sound & Music Editing: Operation: Choreography: Set & Light Design: Playwright: Directors:
November 24
Bipin Karki, Hum B.C. Chetnarayan Rai Udaya Ghimire Kamalmani Nepal Birendra Hamal, Suresh Chand Sunil Pokharel, Birendra Hamal Prof. Abhi Subedi Nisha Sharma, Sunil Pokharel
12 noon & 4:30 p.m. Mandala Theatre Hall
Vivadi, India
Jeevit ya Mrit The Play
The Group Nepal is a theatre of colors, rituals, and folklore: a theatre that evolved among the lived experience of peoples who cultivated fields in the lush plains in the south, tilled terraced valleys in the hills, and kept herds in the high mountains. Buddhist, Hindu, and indigenous rituals constantly provided energy for the the stage. For the past three decades, the Aarohan Theatre Group has celebrated this cultural dynamism. Its guiding principle has been that every voice has a place in this diverse country. This is reflected on its stage and in its audience. It has created highly artistic theatre for the proscenium and socially committed theatre for the streets and villages of our country. Established in Kathmandu in 1982, Aarohan has also worked with classics of the other parts of the world, bringing them to the Nepalese audience, some in their original forms and some adapted to the Nepalese cultural sensibility. Since 2003, Aarohan has been running a theatre centre and a theatre school in Kathmandu. And it is working further to run 4 years bachelor degree program in theatre.
The central character Jeevit ya Mrit, Kadambini is a widow faced with the frustrating prospect of having to prove she's alive after the world has assumed that she's passed away. Performed by Seema Biswas, this is Geetanjali Shree's adaptation of Tagore's story Jeevit ya Mrit. Written as a monologue, it traces the inner journeys of Kadambini through dream, desire, and hallucination, after she wakens amidst the detritus of death in the cremation ground.
Address Director's Note
Aarohan Theatre Group Gurukul School of Theatre Post Box No 12819 Kathmandu, Nepal Tel. 9851034419 email: gurukul@wlink.com.np URL: www.aarohantheatre.org
This is an adaptation of Tagore's short story Jeevit ya Mrit by Geetanjali Shree, and it seeks to place the inner monologue of Kadambini into the world; into domains sites and interior landscapes inhabited by memory hallucination dream and desire. The performance tries to use everyday objects, the detritus that death leaves behind into which bodies are sometimes thought to awaken or thought to walk paths that take them past the living world. The objects may be employed for obscuring memory, or for providing ministrations on death's itinerary, or those that are forsaken along with the body for an ultimate erasure. Seema Biswas performs the narrative attempting to move from characters which populate the story to speech that belongs to Kadambini that is played out in her mind as soliloquy, also to speech for communication, through which Kadambini expresses herseL“ to others; all these registers of speech of course also belong to women who navigate different kinds of death all through their lives—widows.
The Director Dr. Anuradha Kapur is a professor of acting and direction at the National School of Drama, New Delhi. She has written widely on theatre and her book, ‘Actors, Pilgrims, Kings and Gods: the Ramlila at Ramnagar' was published by Seagull Books, Kathmandu International Theatre Festival 2012
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23 November to 7 December
23 November to 7 December
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Kathmandu International Theatre Festival 2012
Calcutta, (1993,2004). She has taught and directed in India and abroad and her theatre work is recognized extensively, nationally as well as internationally. She is also one of the founder-members of Vivadi, a working group of painters, musicians, writers and theatre practitioners which was formed in 1989. In 2003 Dr. Kapur was invited to curate the performance of ‘Window Actors at Work at Body.City', an event citing contemporary Indian culture, at the House of World Cultures, Berlin. She was conferred with the Sangeet Natak Akademi Award for Direction in 2004. Dr. Kapoor took over as the Director of the National School of Drama in 2007.
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Cast and Credits On Stage Seema Biswas Off Stage Light Design: Music Operation: Video Operation: Set Design: Original Story: Theatre Adaptation: Assistant Director: Direction: Aknowledgements:
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l;df ljZjfzn] clego dfk{mt gf6ssf] d"n kfq sfblDagLsf] af]nLdf k'Ug] k|of; ul5{g\ . h'g af]nL pgsf] dgdf dgf]jfbsf] ?kdf 3l6t x'G5 / h;dfk{mt\ sfblDagLn] cfkm"nfO{ c?df´ k|:t't ul5{g\ . oL af]nL lt ;a} dlxnf -ljz]if ul/ ljwjf_sf af]nL x'g\ h;n] cfk\mgf hLjgdf w]/} k|sf/sf d[To'x? b]v]sf5g\ .
Daulat Ram Vaid Sneha Sinvi/ Prassanna D. Biplob Borkakoti Santanu Bose Rabindranath Tagore Geetanjali Shree Aditi Biswas Dr. Anuradha Kapur Nilima Sheikh, Rajesh Tailang, Farah, Amrita Kapur
lgb]{zs 8f=cg'/fwf sk'/, g];gn :s'n ckm 8«fdf, gof“ lbNnLsL clego / lgb]{zgsL k|fWofks x'g . pgn] gf6s ;DaGwL w]/} n]vx? n]v]sL 5g\ . ;fy} pgsf] lstfa PS6;{, lklNu|D;, lsª\; PG8 u8\;\M b /fdnLnf P6 /fdgu/ l;una'S;, sf]nsftfn] k|sflzt u/]sf] 5 . pgn] ef/t tyf ljb]zdf k9fpg'sf ;fy} pgsf] gf6\o lzNkn] b]z tyf lab]zdf gfd sdfO;s]sf] 5 .
The Group Vivadi, a working group of artists, writers, painters and actors was formed in 1988 -89. Most of its work have been collaborative in nature and painters like Bhupen Khakhar, Nalini Malani, Nilima Sheikh and Vivan Sundaram have been part of Vivadi projects. Video artists like Madhusree Dutta, Vishal Dar and Ein Lal have also collaborated in projects while Vidya Rao has been part of making theatre music for Vivadi performances. Some of the well known productions of Vivadi have been Mohammed Hadi Ruswa's Umrao, Brecht's The Job, Jaishankar Sundari's Autobiography entitled Sundari, a version of Brecht's Antigone entitled Antigone Project, Heiner Muller's Cenaturs, and Ibsen's John Gabriel Borkman.
Kathmandu International Theatre Festival 2012
14
23 November to 7 December
sk'/ ljjfbL ;d"xsf] ;+:yfksdWo] Ps x'g\ . ;g !(*(df ul7t ljjflb snfsf/, n]vs, k]G6/ tyf gf6\osdL{x?sf] ;d"x xf] . 8f= sk'/n] @))# df aln{gsf] xfp; ckm jN8{ sNr/;\df ef/tLo ;“:s[tLsf] k|bz{gLsf] ?kdf lnO{Psf] ljG8f] PS6;{ o6 a8L ;L6L eGg]] sfo{qmd lgl/If0f ug{ lgDtf] kfPsL lyOg\ . @))$ df lgb{]zgsf nflu ;ª\uLtgf6\o Ps]8]dL cjf8{ kfPsL 8f= sk'/ ;g\ @))& b]lv g];gn :s'n ckm 8«fdfsL lg{b]zs l5g\ .
;d"x ;g\ !(**–*(df ul7t ljjflb snfsf/, n]vs, k]G6/ tyf gf6\osdL{x?sf] ;d"x xf] . o;sf] w]/} h;f] sfd ;xsfo{df x'G5 . e'k]g vv/, glngL dnfgL, lglndf z]v / ljjg ;'Gb/d h:tf snfsf/x? o;df ;xefuL 5g\ . ;fy} lel8of] snfsf/x? h:t} dw'>L bQ, lazfn b/ / Og nfn klg ;xefuL 5g\ eg] ljBf /fjn] gf6ssf] nflu ;“uLt lblG5g\ . df]xDdb xbL ?:jfsf] pd|fcf], a|]Vtsf] b ha, / ho z+s/ ;'Gbl/sf] ;'Gb/L gfds cfTdfsyf, a|]Vtsf] PlG6uf]g, x]Og/ d'n/sf]] ;]gft'{; / OA;]gsf] hf]g u]la|on af]s{Dofg h:tf ljjfbLsf s]xL k|:t'tL lgs} rlr{t 5g\ .
23 November to 7 December
15
Kathmandu International Theatre Festival 2012
November 24
November 25
12 noon to 4:00 p.m.
12 noon & 4:30 p.m.
Mandala Theatre Premises
Mandala Theatre Hall
From Peace in the Home to Peace in the World
CREA, France
Once More upon a Time
A Painting Workshop and Exhibition This program organized as a part of Kathmandu International Theatre Festival 2012 is also a part of 16 Days of Activism Against Gender Violence (November 25 to December 10), an international campaign originating from the first Women's Global Leadership Institute coordinated by the Center for Women's Global Leadership in 1991. This campaign is commemorated every year around the world to raise awareness and trigger action against gender violence. A joint undertaking of Aarohan-Gurukul and Centre for Awareness Promotion (CAP Nepal), this program is an attempt to celebrate arts, and combating violence through arts.
Participating artists Aarya Rajbhandari
Tales, theatre and puppets
The Play Grandma Celstine invites the audience to her home. She needs some help to remember some stories. Close to the public, Celestine plays with puppets and opens a dream world for children and for adults... Please gather around Celestine's magic potions. She can't wait to open the old book of magic spells with all of you.
Bidhata K.C Erina Tamrakar
Some magic recipes: a handful of humour, drops of poetry, a pinch of light and there you are! Stories come to life through the hands of a lovely dippy grandmother. All that with your help of course!
Gyanu Gurung Krishna Devi Maharjan (Puja) Kurchi Dasgupta Pramila Bajracharya Rabita Kisi
Once more upon a time, an another story and one more again, and finally we just can't stop dreaming. A charming character, Grandma Celestine, will guide you all the way through, side by side with the public.
Reeta Manandhar Rukumani Shrestha Sabita Dangol
Director's Note
Samjhana Rajbhandari
I chose a lovely, dippy grandmother and a cozy atmosphere to be close to the public. I want the audience (often the first time for children coming to see a play) to be comfortable and fine at the theatre. The goal is to create a feeling like the one we feel at home: quiet and comfortable. The tales send messages about life and about friendship and relationship.
Sandhya Silwal Satya Shila Kashajoo Sunita Rana
The Director
Sushma Shakya
Actress and Puppeteer, Aude Maréchal, studied theater and puppets in Paris and other cities in France, and worked with different directors there. After her formation as an actress, she learnt puppetry, specially paper puppets. Kathmandu International Theatre Festival 2012
16
23 November to 7 December
23 November to 7 December
17
Kathmandu International Theatre Festival 2012
She has participated in a number of theatre festivals around the world.
jfG; df]/ ckg c 6fO{d
This is her second theatre visit to Nepal. She had participated in Kathmandu International Theatre Festival 2010 with PACOTILLE.
syf, gf6s, / k'tnLx?
Cast and Credit
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Written, designed, directed and performed by Aude Maréchal
;]n]:6fOn xh'/cfdfn] bz{snfO{ 3/df lgDtf] ul5{g . cfkm\gf s]xL syfx? ;Demgfsf nflu pgnfO{ d2tsf] vf“rf] k5{ . bz{ss} cuf8L ;]n]:6fOn k'tnLx?;“u v]lN5g / afnjflnsf / ao:sx?sf nflu Pp6f ;kgfsf] b'lgof“sf] 9f]sf p3fl5{g .
The Group CREA is a theatre and circus company based in Normandy (North West of France). There are six members in the group who work together to create shows, and to conduct workshops with schools and develop projects. They have three places where they perform: a circus tent, a theatre room and a bus with a small stage inside. CREA has a strong link with foreign artists. It is very proud to welcome foreign theatre teams in its place and to perform around the world.
Address
s[kof, xh'/cfdfsf] hfb"do syfx? ;'Gg glhs cfpg'xf];\ . plg hfb"do syfx?n] e/LPsf] lstfa tkfO{“x?;fd' vf]Ng cft'/ l5g\ . s]xL hfb'sf ;fdfu|Lx?M– clnslt 7§f, sljtfsf s]lx yf]kfx?, Ps lrD6L pHofnf], tkfO{x? ;a}nfO{ . dfofn' xh'/cfdfsf xftx?af6 syfx?n] hLjg k|fKt u5{g\ . of] ;a} tkfO{+x?sf] ;xof]udf dfq ;Dej 5 x} . Psfb]zdf km]/L Psk6s, km]/L csf]{ syf / k'gM Ps k6s, cGttM xfdL ;kgf b]Vg /f]Sg ;Sb}gf} . xh'/cfdfn] ;a}sf] d2tdf tkfO+{nfO{ 8f]¥ofpg]l5g\ .
AUDE MARECHAL 53 RUE CHARLES COULOMB 14120 MONDEVILLE FRANCE aude.marechal@yahoo.fr crea.production@yahoo.fr
lgb{]zsLo d}n] dfofn' s'/f}6] xh'/cfdf bz{s;“u glhs aGgsf nflu /f]h]sL x'“ . d gf6s 3/df bz{sn] -w]/} afnjflnsf klxnf] k6s gf6s x]g{ cfPsf x'g ;S5g\_ ;lhnf] dx;'; u?g eGg] rfxfG5' . d]/f] d'Vo nIo eg]s} xfdLn] 3/df x'“‘bfsf] h:t}] efjgf >[hgf ug'{ xf]M zfGt / ;xh . lo syfx?n] hLjg / ldqtfsf af/]df ;Gb]z k|jfx u5{g\ .
lgb]{zs cleg]qL / kk]6 ljz]if1 cf]8 dfz{nn] km|fG;sf] k]l/; nufotsf cGo zx/x?df /ª\ud~r / k'tnLx?sf] cWoog u/]sL x'g\ / Toxf“ ljleGg lgb]{zsx?;“u sfd u/]sL 5g\ . cleg]qL ag]kl5 pgn] kk]l6«, vf; u/L sfuh k'tlnx?af/] cWoog u/]sL x'g\ . ljZje/ ljleGg gf6s dxf]T;jdf efu lnO;s]sL dfz{nsf] of] bf];|f] g]kfn e|d0f xf] . pgn] cfkm\gf] gf6s Kofsf]l6nLsf ;fy sf7df8f}+ cGt/fli6«o gf6s dxf]T;j @)!) df ;xeflutf hgfPsL lyOg\ .
;d"x gf]d{08Ldf cjl:yt gf6s tyf ;s{; sDkgL xf] . ;d"xdf ^ hgf ;b:ox? 5g\ hf] gf6s d~rg ug{, ljBfnodf sfo{zfnf uf]i7L ;+rfng ug{ tyf kl/of]hgfx? ljsf; ug{ ldn]/ sfd u5{g\ . pgLx? tLg :yfgx?df gf6s d~rg u5{g\M ;s{;sf] 6]G6, gf6s 3/ / ;fgf] d~r ePsf] a; . CREA sf] ljb]zL snfsf/x?;“u /fd|f] ;DjGw 5 . CREA
Kathmandu International Theatre Festival 2012
18
23 November to 7 December
23 November to 7 December
19
Kathmandu International Theatre Festival 2012
November 26 12 noon & 4:30 p.m. Mandala Theatre Hall
Kalyani Kalamandalam, India
Manushi: A Woman Alone & Others
Meanwhile a phone call comes from the manager of her husband's of“ice who informs her that her husband has suddenly gone to Bangkok. Mela becomes tensed. Then she gets a call from her elder son who has reached here, but has chosen to stay in a hotel because he assumes that there will be problems between his wife and his mother. He even tells her that the house has become a mad-house. He rather asks his mother to meet then at the hotel.
The Play Mela, a lady in her fifties, belongs to the upper class society. Today she is very busy with her belongings in her flat because her elder son is coming home from USA after five years with his newlymarried wife. Meanwhile, she notices her new neighbor (a young lady) at opposite flat. The conversation between the two ladies continues.
Now Mela feels she is absolutely alone, and is in complete despair. But she ultimately accepts loneliness as her only companion.
The Playwright
The lady of the opposite flat can not listen to Mela's voice because in every room of Mela's flat music is on. Mela says that music is the only medicine of her loneliness. Her other children cannot live with her because of their nature of fissions, yet her daughter has left the mentally imbalanced grand–daughter with Mela. Mela says she has no complains because her husband has not deprived her from any worldly happiness. Observing Mela's activity when the young lady asks whether there is no maidservant, Mela opens another chapter regarding her physically handicapped brother-in-law (her husband's younger brother) because of whom no maidservant can stay with Mela. The phone rings. Mela takes the call assuming it to be from her husband. But it is the call of a sexually perverted old fellow who regularly disturbs Mela. She cuts the line and the conversation starts on this issue. Again the phone rings and Mela assuming it of that poor fellow starts to warn. But now it is her husband's phone. From the conversation between Mela and her husband on phone it becomes clear to her neighbors that Mela's husband does too much suspect on Mela's behavior and Mela is virtually imprisoned within the walls of her flat. Her husband treats her as a maidservant cum-sex partner. As if that was not enough, she has to bear torture from him on a regular basis. Again the phone rings and it is her husband calling. He warns Mela very nastily not to talk with any one by any means, and remain silent in such a manner that no none will think there is some one in the flat. Mela remembers her marriage day for which she waited for a long time with high hopes. But on the very first day, her husband raped her like a beast. Then Mela comes to that sad story. Kathmandu International Theatre Festival 2012
When her children had started their schooling, Mela gradually became alone. She requested her husband for something to be engaged with. She starts taking French classes with a young man who very soon falls in love with her. She refuses his proposals, stops French class and warns the young man to remain away from her. The young man becomes sick. His mother comes to Mela and requests her to visit her son, at least once. Mela accepts the request, visits him, and for the first time realizes what true love can be. Mela's husband suspects that something is wrong. One day, he catches them red-handed, and the series of torture begins. She even tries to commit suicide, but her husband takes her to the hospital, and she survives. But after this, she ends up as a prisoner in her own flat.
20
23 November to 7 December
A popular and controversial playwright, actor and director, Dario Fo has earned international acclaim for his political satires and farces. Often considered the rightful heir of Aristophanes, Fo has led the field in political satire in Europe for over thirty years. The main targets of his ideologically inspired attacks have been capitalism, imperialism and corruption in the Italian government. For performances outside of Italy, his comedies are frequently adapted to reflect local political conditions. His best known plays include Accidental Death of an Anarchist, We Won't Pay! We Won't Pay!, and Orgasmo Adulto Escapes from the Zoo. He was awarded the Nobel Prize for Literature in 1997 for “emulating the jesters of the Middle Ages in scourging authority and upholding the dignity of the downtrodden."
The Director Santanu Das is one of those modern theatre practitioners who have been trying to find out a new theatrical language as much as possible. He has completed his graduation in Dramatics from Rabindra Bharati University, Kolkata and later obtained three years Post Graduate Diploma in Dramatics from National School of Drama, New Delhi. Presently he is employed with the Rabindra Bharati University as an Assistant professor in the Department of Drama. He started his career as Director in 1990 with the play Atha Dar Pal Katha based on Tagore's story. His other works include the direction of Leo Tolstoy's Power of Darkness, Badal Sarkar's Ebom Indrajit, Bertolt Brecht's Aiin, Satinath Bhaduri's Dhorai Charit Manas, Jean Anouilh's Romeo Jeannette, a Bangladeshi Ballad Malua Sundarir Pala which is called Moiman Singh gitika, Dario Fo's Manush – Manushi (A Women Alone & Others) and his own Asangati. Presently he has directed a play named Oidipous Turannos. Recently he was work as a designer of production named Raisin in the Sun Directed by famous director from United States Dr. Brian C. Russo. His productions have participated in different state, regional, national and international theatre festivals.
23 November to 7 December
21
Kathmandu International Theatre Festival 2012
Cast and Credits
dfg'ifL M c j'dg cnf]g PG8 cb;{
On Stage Ananya Das Santanu Das
gf6s %) jif{sL d]nf, 7'nf] 3/fgfsL dlxnf x'g\ . cfh pgsf] h]7f] 5f]/f] cd]l/sfaf6 kf“r aif{kl5 cfkm\gL >LdtL;“u 3/ cfp“b}5 . To;}n] pgL cfk\mgf] 3/leqsf ;fdfgx?;“u Psbd Jo:t l5g\ . TolQs}df pgn] kNnf] sf]7fsf] gof“ l5d]sL o'jtLnfO{ b]lV5g\ / plgx?aLr jftf{nfk cl3 a9\5 .
Off Stage Music: Sound Operation: Song: Set: Asst.: Light: Make- up: Properties: Costume: Video Presentation: Asst. Director: Playwright: Bengali Adaptation: Design & Direction:
Goutam Ghosh Mahaboob Biswas Ayon Joardar, Biswajit Karmakar Santanu Das Tusher Chakraborty, Samar Biswas Barun Kar, Sonjoy Samanta Arun Biswas, Samar Biswas Ananya Das, Ayon Joardar, Anupam Chakraborty Dario Fo Ashim Das Santanu Das
d]nfsf] k\mNof6df uLt alh/x]sf] 5 . To;}n] lt o'jtLn] d]nfsf] cfjfh ;'Gg ;lSbgg\ . d]nf elG5g, pgsf] nflu ;“uLt g} PSnf]kgsf] ;xf/f xf] . pgsf b'O{dWo] Ps 5f]/f, Ps a'xf/L / 5f]/L pgL;“u a:b}gg\ . oBkL d]nfnfO{ pgsL 5f]/Ln] Ps lbdfuL ?kdf c;St gfltgL 5f]8]/ uPsL 5g\ . d]nf elG5g\, pgnfO{ pgsf] kltn] b'lgof“sf] ;a} v'zLaf6 jl~rt u/]sf 5}gg\ . d]nfnfO{ b]v]/ lt o'jtLn] pgsf] 3/df sfd ug]{ sf]xL 5 ls 5}g eg]/ ;f]lW5g\ . d]nfn] cfkm\gf] lhGbuLsf] csf{] cWofo vf]lN5g\ / pgsf] zfl//Ls ?kdf c;St b]j/sf] af/]df elG5g h;sf] sf/0fn] s'g} sfd ug{ ;Sb}gg\ .
The Group Kalyani Kalamandalam was established in 1995 by a group of young artists who are exploring new directions in performance. The group has spread its activities in various areas such as drama, theatre workshop, and children theatre. They also have tried to use non-theatrical art forms in our theatre.
kmf]g aH5 . d]nfnfO{ nfU5 of] pgsf] kltsf] xf] . t/ of] Ps g/fd|f] a'9f]sf] xf] h;n] d]nfnfO{ b'Mv lbG5 . pgn] kmf]g /flV5g\ / o; laifodf s'/f ug{ yflN5g\ . km]/L kmf]g aH5 / km]/L ToxL a'9f] xf] eg]/ xsfg{ yflN5g\ t/ of] pgsf] kltsf] kmf]g x'G5 . s'/fsfgLaf6 l5d]sLnfO{ d]nfsf] kltn] pgsf] rl/qdf ug{] z+sfsf] af/]df yfxf x'G5 / d]nf cfkm\g} 3/leq aGbL ePsf] s'/f klg yfxf x'G5 . pgsf] kltn] pgnfO{ sfd ug{] / of}g ;+Dk{s ug{ dfq k|of]u ug{] u5{g\ . d]nf k9]n]v]sf] ePklg pgsf] kltn] zf/Ll/s b'Mv klg lbg] u/]sf] yfxf x'G5 . o:sf] k5fl8 w]/} b'MvnfUbf] syf 5 . km]/L kmf]g cfp“5, pgsf] kltsf] g} . pgn] d]nfnfO{ s;};“u ukm gug{ eg]/ ufnL u5{g\ . km\Nof6df klg olt z"Gotf 5 ls Toxf“ sf]xL 5 eGg] s;}nfO{ a'´\g ufx|f] k5{ . d]nfnfO{ km]/L cfkm\gf] ljjfxfsf] lbg ofb cfp“5, h;sf] nflu pgL w]/} lbgb]lv ;kgf b]Vb} lyOg . t/ ToxL lbg pgsf] kltn] pgnfO{ hgfj/n] h:t} anTsf/ ub{5g\ . / pgnfO{ cfkm\gf] k|yd k|]dsf] klg ofb cfp“5 h'g pgsf] efUon] u'dfPsL lyOg\ . To;kl5 d]nf cfkm\gf] b'Mvsf] syft{km cfp“l5g\ . ha d]nfsf aRrfx? :s'n hfg yfn], d]nf PSn} x'g yflng\ . pgn] cfkm\gf] klt;“u s]xL sfd u5{ eg]/ ;f]lwg\ . plg k|m]Gr efiff k9\g yflng\, t/ h;n] k9fp“Yof] p;n] d]nf;“u k|]d ug{ yfNof] . d]nfn] cl:jsf/ ul/g\ / k|m]Gr k9\g klg 5f]l8g\ / cab]lv slxn] klg pgsf] cufl8 gcfpg' elgg\ . kl5 Tof] s]6f la/fdL k/]/ p;sf] cfdf d]nfnfO{ Psrf]6L p;nfO{ e]l6b]p elgg\ / d]nfn] g} eGg ;lsgg\ . To;kl5 d]nfn] k|]d k|:tfj l:jsf/ ul/g\ . lhGbuLdf pgn] klxnf] k6s k|]dsf] cfef; ul/g\ . t/ pgsf] kltn] z+sf u/]/ Pslbg pgLx?nfO{ ;“u} e]6] . To;kl5 pgn] d]nfnfO{ w]/} s'6lk6 ug{ yfn] . d]nf bf}l8bF} afy¿ddf cfTdxTof ug{ uOg\ t/ c;kmn eOg\ . To;kl5 pgn] d]nfnfO{ c:ktfn nu]/ rf/ kvf{nleqsf] aGbL agfP . olQs}df pgsf] kltsf] clkm;sf] Dofg]h/sf] kmf]g cfp“5 / pgn] d]nfnfO{ pgsf] klt a}ª\ss uPsf] atfp“5g\ . d]nf km]/L cflQlG5g\ . km]/L pgsf] 7"nf] 5f]/fsf] kmf]g cfp“5 hf] cfOk'lu;s]sf] 5 / xf]6]ndf a;]sf] 5 lsgeg] p;nfO{ cfkm\gf] kTgL / cfdfaLr ;D´f}tf x'“b}g h:tf] nfU5 . p;n] 3/ ca kfun 3/
Kathmandu International Theatre Festival 2012
22
23 November to 7 December
23 November to 7 December
23
Kathmandu International Theatre Festival 2012
ePsf] atfp“5 / cfdfnfO{ xf]6nd} e]6\g cfpg' eg]/ af]nfp“5 . November 27 12 noon & 4:30 p.m.
ca d]nf k'/} PSnf] cfef; ul5{g\ / Psbd Aofs'n x'lG5g\ / cfkm\gf] PSnf]kg g} cfkm\gf] ;fyL xf] eg]/ :jLsfl5{g\ .
Mandala Theatre Hall
A Bird of Two Worlds, Russia
lgb]{zsLo ;Gtg' bf; gof“ gf6sLo efiff vf]Hg sf]l;z ul//x]sf Ps cfw'lgs gf6\osdL{ x'g\ . pgn]] sf]nsftfsf] /laGb| ef/tL ljZjlaBfnoaf6 gf6sdf :gfts u/]sf 5g\ / gof“lbNnLsf] g]Zgn :s'n ckm 8«fdfaf6 gf6sd} tLg jif]{ kf]:6u|fh'o6 l8Knf]df u/]sf 5g\ . clxn] pgL /laGb| ef/tL ljZjlaBfnosf] gf6s ljefudf ;xk|fWofkssf] ?kdf sfo{/t 5g\ . cfkm\gf] gf6s lgb]{zgsf] ofqf pgn] 6fuf]/sf] syfdf cfwf/Lt cyf b/kn syfaf6 u/] . lnof] 6f]N:tf]of]sf] kfj/ ckm 8fs{g];, afbn ;/sf/sf] Paf]e O{Gb|lht, atf]{Nt a|]Vtsf] P]g, 8l/cf] kmf]sf] dfg'ifL pgn] lgb]{zg u/]sf s]xL dxTjk'0f{ gf6s x'g\ . ;fy} pgsf gf6sx? b]zljb]zsf ljleGg dxf]T;jx?df k|b{zg eO{;s]sf5g\ .
gf6ssf/ k|l;4 tyf laafbf:kb gf6ssf/, snfsf/ tyf gf6s lgb]{zs 8fl/of] kmf]n] cfkm\gf] /fhgLlts Aoª\Uo / kmf;{x?sf] nflu cGt/fli6«o hutdf Voflt kfPsf 5g\ . pgnfO{ Pl/:6f]km]G;sf] pQ/flwsf/L klg eGg] ul/G5 . pgsf]] Aoª\Uosf] lgzfgfdf k"“hLjfb, ;fd|fHojfb / O6fnL ;/sf/sf] e|i6frf/ x'g\ . y'k|} gf6s lgb]{zg u/]sf kmf]n] y'k|} rnlrqx¿sf nflu l:qmK6 n]Vf]sf 5g\ / clego klg u/]sf 5g\ . pgnfO{ !((& df ;flxTosf] nflu gf]a]n k'/:sf/ k|bfg ul/of] .
;d"x
The Trial of Lucullus The Play The “Trial of Lucullus" is a short play by the German dramatist Bertolt Brecht written in verse. In it, the great Roman general Lucullus appears after death before a judge and jury of the underworld, who are to decide whether he should be condemned to Hades or admitted to the Elysian fields. The jury, representing the lower classes, allows Lucullus to call as witnesses portrayed on a triumphal frieze. All the evidence is against Lucullus, except for the fact that he introduced the cherry tree to Europe, grieved over the destruction of books, and was possessed of a fine culinary experience.
The Playwright
sNof0fL snfdG8ndsf] :yfkgf ;g\ !((%df ePsf] xf] . of] ;+:yf kl/>dL / l;h{gfTds o'jf hf] gf6s lgb{]zg / clegodf gf}nf]kg vf]Hg]x?sf] ;+:yf xf] . xfd|f] nIo eg]sf] ef/tLo gf6sdf gof“ gf6sLo efiff l;h{gf ug'{ xf] . of]] ;d"xn] gf6s / ljleGg sfo{zfnfx? ub}{ cfPsf] 5 . o;sf ;fy} gf6sdf snfsf c? ljwfnfO{ klg ;d]6\g] k|of; u/]sf] 5 .
Bertold Brecht is a famous German poet, playwright and theatre director. An influential theatre practitioner of the 20th century, Brecht made equally significant contributions to dramaturgy and theatrical production. Brecht's writings show the profound influence of many varied sources during this time and the remaining years of his life. He studied Chinese, Japanese, and Indian theatre, focused heavily on Shakespeare (adapting, among other plays, Shakespeare's Coriolanus) and other Elizabethans, and was fascinated by Greek tragedy. He found inspiration in other German playwrights, notably Buchner and Wedekind, and he enjoyed the Bavarian folk play. Mother Courage and Her Children arguably owes much to Schiller's Wallenstein trilogy. Brecht had a phenomenal ability to take elements from these seemingly incompatible sources, combine them, and convert them into his own works. Brecht's four great plays were written between 1938 and 1945.These included, for one, The Life of Galileo. The others were Mother Courage and Her Children, The Good Woman of Setzuan, and The Caucasian Chalk Circle In his early plays, Brecht experimented with dada and expressionism, but in his later work, he developed a style more suited to his own unique vision. He detested the “Aristotelian" drama and its attempts to lure the spectator into a kind of trance-like state, a total identification with the hero to the point of complete seL“-oblivion, resulting in feelings of terror and pity and, ultimately, an emotional catharsis. He didn't want his audience to feel emotions--he wanted them to think--and towards this end, he determined to destroy
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the theatrical illusion, and, thus, that dull trance-like state he so despised. The result of Brecht's research was a technique known as “verfremdungseffekt" or the “alienation effect". It was designed to encourage the audience to retain their critical detachment.
b 6«fon ckm No';'n;
The Director
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Andrey Spiridonov is a director of Moscow theatre “The Bird of the Two Worlds" and the Actors Studio “The Second Frog". He founded the theatre in 2000 and has staged more than 15 plays there. The theatre has participated in various International and Russian Theatre Festivals and was many times awarded with certificates, diplomas and gratitude letters.
b 6«fon ckm No';'n; hd{g gf6ssf/ atf]{Nt a|]Vtåf/f lnlvt n3' gf6s xf] . o;df /f]dg hg]{n No'';'n; k|Voft d[To'nf]ssf Gofolwz tyf Gofokl/ifbsf] ;fd' v8f x'G5 h;n] p;nfO{ sxf“ k7fpg] eGg] lgwf] ug'{kg]{ x'G5 . tNnf] ju{sf] k|ltlglwTj ug]{ Gofo kl/ifbn] l;lnª\usf] lsgf/fdf s'“lbPsf ljhof]T;jsf cfs[ltx? h:t} nfUg] ;fIfLx? af]nfpg] Ohfht lbG5 . p;n] o'/f]kdf r]/L leœofPsf], k':tssf] ljgfzdf pbf; ePsf] / /fd|f] kfs cg'ej ePsf] s'/f afx]s ;a} k|df0f p;sf] lj?4df 5g\ .
Cast and Credits Cast and crew: Playwright: Direction:
Spiridonova Vera, Suhorukova Tanja, Kuznetsov Yan, Zhuravleva Olga, Kustareva Marina, Krychenkov Andrey, Plyushcheva Evgeniya Bertolt Brecht Spiridonov Andrey
The Group Moscow theatre “The Bird of the Two Worlds" is a professional theatre based on the Actors Studio “The Second Frog". It was founded in 2000 by Andrey Spiridonov, now a director of the theatre. More than 15 plays were staged and performed by the actors of the theatre, among them: “Crime and Punishment" and “the White Nights" by F.Dostoyevskiy; “The Stone Guest" by A.Pushkin; N.Ostrovskiy's plays and biographical performance; “Morphia" by M.Bulgakov; plays of modern writers and playwrights, both for adults and children. The theatre The Bird of the Two Worlds and the Actors Studio The Second Frog performe on the different stages of Moscow, Russia. The theatre has also participated in various International and Russian Theatre Festivals and was many times awarded with certificates, diplomas and gratitude letters.
Kathmandu International Theatre Festival 2012
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23 November to 7 December
lgb]{zs cfGb|O{ l:k/Lbf]gf]d d:sf] lyP6/ b j8{ ckm b 6' jN8{h / b PS6;{ :6'l8of] b ;]s]08 k|mu sf lgb]{zs x'g\ . pgn] ;g\ @))) df gf6s3/ :yfkgf u/] / Toxf“ !% j6f gf6s d~rg u/L;s]“ .
gf6ssf/ j|]Vt Ps k|Voft hd{g slj, gf6ssf/ / gf6s lgb]{zs x'g\ . pgn] b u'8 pdg ckm ;]r'jfg, db/ s/]h P08 x/ lrN8«]g, b ss];Log rs ;s{n h:tf ljVoft gf6sx? n]v]sf 5g\ .
;d"x d:sf] lyP6/ b a8{ ckm b 6' jN8{h PS6;{ :6'l8of] b ;]s]08 k|mu df cfwfl/t Joj;flos gf6\o ;d"x xf] . o; ;d"xn] bf]:tf]e:sLsf] j|mfOd P08 klg;d06 / b x\jfO6 gfO6\; tyf o'/Ls]gsf] b :6f]g u]i6 nfO{ d~rg u/L;s]sf] 5 . ljleGg ¿;L tyf cGt/f{li6«o gf6\o dxf]T;jdf ;xeflutf hgfO;s]sf] of] ;d"xn] y'k|} k'/:sf/ / k|z+;f a6'n]sf] 5 .
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Director's Note November 28 12 noon & 4:30 p.m. Mandala Theatre Hall
The theme of the play is the dilemma of belonging to two cultures or SPLIT IDENTITY, between a dominant majority culture and an indigenous minority culture. In the play Veronica Salinas' text draws from her childhood experiences as a “mixed-blood" – haL“ Spanish Argentinian and haL“ ethnic Guaraní (native tribe of central South America). Tormented by her peers in Buenos Aires as a “blackhead" (native), she was also met with suspicion by the native village children (because of her “city-girl" manners) when she spent the summers with her beloved grandmother Lola.
The National Sami Theatre, Norway
My Home Is in My Heart The Play
To underline the universality of the theme, the play draws a parallel with the Sami of Norway who have also been forced to live with a dual identity, conforming to the Norwegian majority culture while retaining a Sami identity.
A young woman moves from her native Argentina to Norway. She grew up in Buenos Aires with parents of mixed blood, haL“ Spanish Argentinian and haL“ Guarani Indian.Her parents had to struggle against poverty as well as racism in the big city, and so did she and her sister – they were called “blackheads" by the other children.
The costumes combine elements from Sami, Latin American and Asian tribal dress. The music blends Sami yoik with Argentinian tango and folk songs from the tribal lands of northern Argentina. This production is devoted to all indigenous peoples of the world, in support of their struggle to keep their cultures alive under an increasingly strong pressure from the majority population.
The Director
While trying to adjust to the unfamiliarity of life in Norway, she often thinks of her dearly beloved grandmother Lola who lives in a village in North Argentina. Writing letters to her grandmother she recalls the smells and sounds of the tribal village in the jungle. As children she and her sister spent the summers with Grandma Lola. These were days full of adventure, and the girls loved playing with all the animals that they did not see in the city. But some of the animals were dangerous, like the snake that came hissing into the girls' bedroom one night and got chopped in two by Grandma Lola! They were teased by the village children because they wore shoes and took a long time to get used to walking barefoot on the sun-scorched ground. She also recalls her childhood in Buenos Aires with her mismatched parents. Her father would spend his time in the loneliness of his electric repairs shop listening to the melancholy music of the north, while her mother spent her time in the kitchen which always had visitors, and the radio would blare out lively dance tunes. In the end, she asks what her identity is: Argentinian? Tribal? Norwegian? She concludes that identity is fluid and that one can have different identities at different times – and she ponders the richness of being Argentinian AND tribal AND Norwegian. Throughout the play, her story is juxtaposed with the similar experiences of the Sami tribal people of arctic Norway. Kathmandu International Theatre Festival 2012
The text of “My home is in my heart" is written by Argentinian actress and playwright Veronica Salinas, with additional text and poems by the great Sami writer Nils AslakValkepääand “yoik" performer and composer Inga Juuso.
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Haukur J. Gunnarsson is a theatre director and artistic director of Beaivváš. He is originally from Iceland, but has lived in Norway for over 30 years. He studied Japanese theatre and the Japanese language in Tokyo for three years, with subsequent theatre studies at Hull University in England. As a freelance director, he has directed more than 60 productions in the Nordic countries. In 2003 he was awarded UNESCOS's Uhcimura Prize for his work to promote Japanese theatre in the Nordic countries.
The Playwright Veronica Salinas is a poet, storyteller, playwright and actress. She studied acting at Escuela Metropolitana de Arte Dramático in Buenos Aires,Argentina, but now she lives and works in Norway. She has written several texts for the stage which she has produced and acted in herseL“, and in 2008 she was awarded the “New Stage Texts" Prize for her monologue “Ident and Ity". Inga Juuso is a renowned performer of the traditional Sami vocal music, the “yoik". She is also an actress and has performed in several Beaivváš productions. She has won several prestigious music awards for her albums combining traditional yoik with modern musical expressions. Besides being well known in Norway, she has given concerts on every continent of the world.
Cast and Credits Veronica Salinas (Actress) Inga Juuso (Actress) 23 November to 7 December
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Asmund Reistad (Musician) Costumes by Berit Marit Haetta Dramaturg Tine Thomassen Written by Veronica Salinas Additional texts by Nils Aslak Valkeapaa and Inga Juuso English translation by Stein Fredriksen Directed by Haukur J. Gunnarsson
d]/f] 3/ d]/f] x[bodf 5 gf6s cfkm\gf] hGdynf] ch]{lG6gfaf6 gj]{ a;fO{+ ;/]sL Ps o'jtL a'Pgf]; cfO/];df cfwf :k]gL ch]{lG6gL / cfwf u'cf/fgL OlG8og -cflbjf;L_ d"nsf afa'cfdf;“u x's]{sL lyO{ . 7"nf] zx/df p;sf afa'cfdfn] ul/aLsf ;fy} hftLo e]befj lj¿4 ;ª\3if{ ug'{k/]sf] lyof] . ;f]xL s'/f pm / p;sL alxgLn] klg v]Kg'k/]sf] lyof] . pgLx¿nfO{ c¿ aRrfx¿n] ANofsx]8\; elg af]nfp“y] .
The Group Beaivváš Sámi Našunálateáhter is the National Theatre of the indigenous Sami people in arctic Norway. From its beginnings in 1981, Beaivváš has grown from being a small theatre group run by idealistic enthusiasts with little or no financial support, to its present status as the Norwegian National Sami Theatre Company, fully subsidized by the Norwegian government. The theatre's aim is to strengthen Sámi identity through the production of plays of professional quality in the Sami language, as well as to promote Sámi culture in Norway and abroad. The company is based in Kautokeino, one of the largest Sami communities, situated on the inland highlands of North Norway. But as a touring theatre we cover vast areas of northern Scandinavia, as well as frequently making guest performances internationally. This is the third time Beaivváš visits Kathmandu, previously they have performed The Frost Haired and the Dream Seer in 2009 and Prison in 2010, both to packed houses and extra performances on public demand.
gj]{sf] ckl/lrt gf}nf] hLjg;“u leHg] qmddf p;n] cS;/ pQ/ ch]{lG6gfsf] Pp6f ufp“df a:g] cfkm\gL Kof/L xh'/cfdf nf]nfnfO{ ;lDemG5] . cfkm\gL xh'/cfdfnfO{ lr7Lx¿ n]Vbf p;n] cflbjf;L ufp“sf] h+undf x'g] af;gf / cfjfhx¿ ;lDemG5] . aRrf 5Fbf xh'/cfdf nf]nfsf]df udL{ ljtfp“y] . tL lbgx¿ /f]df~rn] el/k"0f{ lyP / pgLx¿ zx/df b]Vg gkfOg] hgfj/x¿;“u v]Ng kfP/ v'a /dfp“y] . t/ s'g} hgfj/x¿ vt/gfs x'Gy] . h:t} Ps /ft ltlgx¿sf] ;'Tg]sf]7fdf cfPsf] ;k{nfO{ xh'/cfdfn] 6'qmf 6'qmf kf/]/ sfl6lbg'k/]sf] lyof] . pgLx¿nfO{ ufp“sf aRrfx¿n] lh:Sofp“y] lsgsL pgLx¿ h'Qf nufp“y] / pgLx¿nfO{ vfnL v'§f 3fdn] kfk|L k/]sf] e'O{“df afgL a;fpg nfdf] ;do nfu]sf] lyof] .
Adress
p;nfO{ a'Pgf]; cfO/];df cfkm\gf afa'cfdfsf ;fy ljtfPsf] cfkm\gf] afNosfn klg ofb cfp“5 . p;sf] afa' cfkm\gf] ;do p;sf] ljB't k;nsf] PSnf]kgdf pbf; uLt ;'Gb} ljtfp“Yof] eg] p;sL cfdfrflx“ ;w}+ kfx'gfn] el/g] efG;fdf ljtfp“yL hxf“ /]l8of]af6 hLjGt w'gx¿ alh/xGYof] .
Det samiske nasjonalteatret / The National Sami Theatre Boks 293 9521 Kautokeino Norway Tel. (+47) 7848 4461 Fax (+47) 78 48 68 75 Mobile (+47) 99 56 22 49 www.beaivvas.no
cGTodf p;nfO{ d sf] x'“ eGg] k|Zgn] ;w}+ ;tfO/xG5 . pm sf] xf] < ch]{lG6gL < cflbjf;L < gj]{lhog < p;sf] kl/ro t/n x'G5 / ;docg'¿k Pshgfsf] ljleGg kl/ro x'G5 eGg] lgisif{df k'U5] . / pm cfkm\gf] ax'cfoflds cl:tTjsf] ;sf/fTds kIfsf af/]df ;f]Rg yfN5] . gf6sel/ g} p;sf] syf cfl6{s gj]{sf hghftL ;fdLx¿sf] ldNbf]h'Nbf] cg'e"ltx¿;“u bf“lhPsf] 5 .
lgb]{zsLo d]/f] 3/ d]/f] x[bodf 5 sf] kf7 ch]{l6gL cleg]qL / gf6ssf/ e]/f]lgsf ;lngf;n] / yk kf7 / sljtf dxfg ;fdL n]vs lgN; c:nfs / O+uf h';f]n] n]v]sf x'g\ . gf6ssf] d"n ljifo b'O{ ;“:s[ltsf];“usf] ;lGgs6tf jf ljefhg / cNk;+Vosx¿sf] ;“:s[ltaLrsf] ;DaGwn] lgDTofPsf] cGt/åGb xf] . gf6ssf/sf] cfkm\gf] afNosfndf cfkm" l7dfxf ePsf cfwf/df ef]Ug'k/]sf cg'e"ltx¿ o;df ;d]l6Psf] 5 . a'Ogf]; cfO/];df cfkm\gf bf}t/Laf6 ANofsx]8\; sxlnFbf plTkl8t pgL cfkm\gf Kof/L xh'/cfdf nf]nf;“u udL{ ljbfdf hf“bf uf“psf cflbjf;L aRrfx¿af6 klg cfkm\gf zxl/of s]6Lsf] :jefjsf sf/0fn] ubf{ z+sf:kb b[li6n] x]l/lGyg\ . o; gf6sn] gj]{sf ;fdLx¿ hf] ax';+Vos ;“:s[ltnfO{ cfTd;fy ub}{ cfkm\gf] ;fdL ;“:s[ltnfO{ klg arfO/fVg'kg]{ åGbaf6 u'lh|Psf] ljifonfO{ syfj:t'sf] ¿kdf lnPsf] 5 . e]ife"iffdf ;fdL, Nofl6g cd]l/sL / Pl;ofnL hghftLsf] ;ld>0f kfOG5 . ;“uLtn] ;fdL of]Os, ch]{lG6gL 6\ofª\uf] / pQ/L ch]{lG6gfsf] cflbjf;L e"dLsf] nf]suLtnfO{ ;d]6]sf] 5 . Kathmandu International Theatre Festival 2012
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23 November to 7 December
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of] k|:t'tL ljZjsf cflbjf;L hghftLx¿df ax';+Vos dflg;x¿af6 x'g] a9\bf] k|efjsf afah'b plgx¿sf] cfkm\gf] ;“:s[lt hf]ufO/fVg] ;ª\3if{nfO{ ;dy{g ub}{ ;dlk{t 5 .
November 29 12 noon & 4:30 p.m. Mandala Theatre Hall
lgb]{zs xfps'/ h] u'gf/;g Ps /ª\ud~r lgb]{zs x'g\ . pgL cfO;Nof08 d"nsf ePklg gj]{df #) jif{b]lv a:b} cfPsf 5g\ . pgn] # jif{ 6f]lsof]df hfkflgh lyP6/ / hfkflgh efiff / af“sL /ª\ud~r ;DaGwL k9fO a]nfotsf] xn o'lgel;{l6df u/]sf x'g\ . :jtGq lgb]{zssf ¿kdf pgn] gf]l8{s b]zx¿df ^) j6f gf6s lgb]{zg ul/;s]sf 5g\ . gf]l8{s b]zx¿df hfkfgLh lyP6/nfO{ k|j4{g ug]{ pgsf] of]ubfgsf nflu plg ;g\ @))# df o'g]:sf] k'/:sf/åf/f ;Ddflgt ePsf lyP .
gf6ssf/ e]/f]lgsf ;lngf; Ps slj, syfsf/, gf6ssf/ / cleg]qL x'g\ . pgn] cG6fl{6{sfsf] a'Ogf]; cfO/];sf] P:s]nf d]6«f]lklnl6gf 8] cf6]{ 8«fdfl6sfdf clego cWoog u/]sL x'g\ . t/ xfn pgL gj]{df sfd / a;f]jf; ub}{ cfPsL l5g\ . pgn] /ª\ud~rsf nflu y'k|} kf7x¿ n]v]sL 5g\ h;sf] pgL cfkm}+n] lgdf{0f Pj+ clego ;d]t u/]sL l5g\ . pgnfO{ ;g\ @))* df pgsf] dgf]jfb cfO8]G6 P08 Ol6 sf] nflu Go' :6]h 6]S:6 k'/:sf/n] ;Ddfg ul/Psf] lyof] .
;d"x ljef; ;fdL cfl6{s gj]{sf hghftL cflbjf;L ;fdLx¿sf] /fli6«o /ª\ud~r xf] . !(*! df :yflkt of] ;d"x s'g} cfly{s ;|f]t ljgf gf6sdf ¿rL ePsf JolQmx¿n] ;'¿ u/]sf ;fgf] ;d"xaf6 gj]{lhPg ;/sf/af6 k"0f{ ¿kdf ;xof]u k|fKt ug{ ;kmn 7"nf] gf6\o sDkgLsf] ¿kdf ljsl;t ePsf] 5 . o; ;d"xn] ;fdL klxrfgnfO{ k|j4{g ug{ ;fdL / cGo efiffx¿df gf6s pTkfbg / k|bz{g ug]{ ub{5 . of] pQ/L gj]{sf] sf6fsf]Ogf] eGg] ;fgf] 7fp“df cfwfl/t eP/ sfd ul//x]sf] 5 . ljef;sf] of] t];|f] sf7df08f} ofqf xf] .
Ensemble Kashmir Theatre Akademi, India
Trunouve The Play The play TRUNOUVE is a contemporary play written in folk form by M. L. Kemmu, a nationally renowned playwright of Kashmir who has been felicitated by both the Sangeet Natak Akademi and Sahitya Akademi of New Delhi as playwright. The play has five performing characters – Laddi Shah, Qadir Bhand, Gruoos, FarziLoung and Parrie Woul -- all popular folk characters symbolically portraying the social caricatures. The dramatic form of the play commands a great theatrical significance and scope for exploration and experimentation in the construction of its plot and structure; that is why we have taken up the liberty to re-write it.The play is a socio-political satire and at the same time portrays the common mind-set of the rural Kashmiri living in hope and despair. Scene-1: Laddi Shah – the Folk performing Actor-cum-Singer of Kashmiri theatre enters on stage and conducts the audience. Scene-2: Meanwhile another folk character – Qadir Bhand enters on stage with a decorated chair on his back to join Laddi Shah but Laddi Shah hides himseL“ in the audience. Qadir Bhand calls him loudly from East, West. North (Up) South (Down) sides of the stage and when he feels desperate, Laddi Shah comes on stage taunting him. Both conduct audience to witness a folk performance of play – Bhand Pather and make comments on the indisciplined audience as is seen on such occasions. Lastly Qadir Bhand decides to play the Pather which he has named “Much-Laka Sahib" (the first name). Laddi Shah taunts him for such an unknown Pather character which has never so far been performed – thus Qadir Bhand explains him the contemporary challenges of the theatre as why he has decided to play a new Pather with such a unique name. Hence they start singing to play the Pather. Scene-3: Suddenly they hear the sound of a drum. Another character Parrie-Woul (Drummer) enters the
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stage announcing the visit of some high-profile personality and asking all the village people – children, young and old, to receive him with all honour and esteem. Qadir Bhand and Laddi Shah on hearing the announcement get stunned, surprised and confused, though make mimicry of the personality of the visiting high-profile character.
The Playwright
Scene-4: In the meanwhile another public Character –Gruoos (Tiller) joins them and alarms them that someone whom he identifies as “Mutschi-Kala Sahib" (the second name) is visiting their village. By this news both, Laddi Shah and Qadir Bhand, get stuck whether to play the Pather or not. Gruoos narrates to them the whole information of the visiting character whose Red Mare has gone out of control and mimics all what has happened during his presence on the scene behind the stage. Here the other two characters – Laddi Shah and Qadir Bhand also join him in a stylized folk musical performing art forms of Kashmiri theatre.
Sh. Kemmu has written dozens of plays in Kashmiri, which have also been translated into Hindi also and have been, as such, staged all-over India.
Scene-5: Lastly a new young character – Farzi-Loung appears on stage in an alarming and aggressive mood. He falsifies Gruoos and tells them that some mysterious character whom he names “Muj-Kala Sahib" (the third name) is on a surprise visit to our village and has lost his Blue Mare having gone out of his control. He also narrates how he struggled to have his Blue Mare back and what catastrophe that brought to their innocent people. This is also narrated in a stylized folk singing form.
The Play TRUNOUVE is his first play written by him in 1964, which has now been re-written by B. B.Yasir in 2007 to make it contemporary for a full-length production.
Scene-6: Farzi-Loang mimics his speech he has made after having his mare back. Suddenly all the characters hear the music of the bells of the Mare, they start chanting slogans of their own choice – Laddi Shah & Qadir Bhand in a folk style, Gruoos in rural style and Farzi-Loung in young aggressive style thus manifests a big satire on the political game-play in Kashmir. Scene-7: Lastly all the four join dancing - Dhambali (a folk dance) and chanting slogans (in traditional style) together that TRUNOUVE – the three-names-holder is coming but does not enter on stage. The play thus ends on a satirical note, what they could aspire for from such a character, who has brought nothing but catastrophe in the shape of desperation, tribulation, agony and humiliation for the villagers on his visit.
Director's Note The production of play Trunouve is a comedy in traditional folk style but is not, in its exclusive treatment, a Bhand-Pather but carries the components of this folk theatre of Kashmir with the contemporary sensibilities explored to the extent of absorption. The play was originally written in 1964 by M. L. Kemmu but the script has been re-written by me to make it contemporarily more relevant. It is pertinent to remark that unless the production of a play is not relevant to the contemporary challenges, the theatre becomes irrelevant. The production carries the punching power of wit, humour, irony and satire of the contemporary sociopolitical scenario around in Kashmir and at the same time educates rather stimulates us to think for better understanding. It is for you to judge how far I have succeeded in giving the convincing treatment to the play and I put myseL“ to the acid-test of this august audience to judge this production by their own contemporary political prudence, material challenges and mental calculations. Please take note of it that it is almost a serious comedy with folk style treatment. Kathmandu International Theatre Festival 2012
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Sh. Moti Lal Kemmu holds two most prestigious National Awards –viz- the Sahitya Akademi Award and Sangeet Natak Akademi Award – both as Playwright. And was with Awarded Padma Shri by Govt. of India in 2011
Sh. Kemmu retired from J&K Academy of Art Culture & Languages, as Additional Secretary and is now working as free-lance theatre director and expert. Sh. Kemmu's plays carry a unique and indigenous treatment, - both in plot, structure and construction. He has a great command in folk form of play writing.
The Director A post graduate in Kashmiri and bachelor in Education, Mr. Bhawani Bashir Yasir (58) is a Distinction holder Alumni (batch 87) of National School of Drama, New Delhi, with Fellowship in Direction, permanently based in Srinagar. He is a pioneering icon of Kashmiri theatre who is involved with it since last 40 years. Apart from being a nationally renowned Director, he is an award winning playwright of the state who has written almost 25 plays in Kashmiri and translated almost a dozen of English plays as well into Kashmiri, Urdu and Hindi which included Oedipus Rex & Antigone (by Sophocles), The Dumb Waiter (by Harold Pinter), The Slave (by LeRoi Jones), Motocar (by David Pownall), Fujiyama (by C. Aetimotov) and Day I Met the Prince (by Kuo Pao Kun). He is a Kashmiri poet and a short-story writer as well. To his credit are many award-winning productions like King Oedipus (7 State Academy Awards),Takhleeq (5 State Academy Awards), Fundbaaz (3 State Academy Awards) and Aka-Nandun. He has studied the Asian Theatre extensively and the theatre of Europe at large during his visits to these countries while he was out of the country from 1990 to 1999. He commands great expertise of not only Designing and Directing the Plays but of the modern theatre architecture as well.
Cast and Credits On Stage Laddi Shah: Qadir Bhand: Paarie Woul: Gruoos: Farzi Loang:
Sahukat Hussain Mir Bashir Lone Raja Nisar Rah Bhat Junaid A. Rather
Off Stage Set: Assisted by:
23 November to 7 December
B. B.Yasir M. Muzammil Hayat 35
Kathmandu International Theatre Festival 2012
Costumes: Assisted by: Properties: Assisted by: Lighting: Make-Up: Music Group: Stage Manager: Music, Design & Direction:
Bashir Lone Shahnawaz Bhat Raja Nisar Rah Junaid A. Rather Meraj-ul-Asrar By the Artistes Ab. Majeed Shah, Shaukat A. Bhat. & The Cast. M. Muzamil Hayat Bhawani Bashir Yasir
6«'gf]e gf6s 6«'gf]e Pd Pn s]d'åf/f nf]s ;+/rgfdf n]lvPsf] ;dsflng gf6s xf] . s]d' /fli6«o ¿kdf ljVoft sfl:d/L gf6ssf/ x'g\ hf] ;ª\uLt gf6s Ps]8]dL / ;flxTo Ps]8]dL gof“ lbNnLaf6 ;Ddflgt eO;s]sf5g\ .
The Group EKTA – the short abbreviation of Ensemble Kashmir Theatre Akademi, was founded by Bhawani Bashir Yasir – (an Alumni of National School of Drama, New Delhi), in 1988 but it could not remain functional after the militant insurgency in 1990. It was again re-invigorated in 2004 to re-enforce a new spirit and start in the erstwhile dead-theatre-movement of Kashmir, on one hand and to rejuvenate, strengthen and promote the theatre of Kashmir, on the other. Under the aegis of the Ensemble – EKTA School of Drama-&-Repertory, Srinagar was established in March 2006, to pave way for providing professional training in theatre-arts to the promising, upcoming and young talented artistes of Kashmir, who are deprived of such avenues to go outside the State and at the same time to build the artistic, aesthetic, creative sensibility and the professional standards of the theatre in Kashmir to help it to preserve its rich heritage and to reach to the zenith of its glory.
gf6sdf k|d'v kf“r kfqx¿– n8\8L zfx, sflb/ efGb, u|'h, kml/h nf]ª\u / kfl/ jf]n– 5g\ . / k|rlnt nf]s kfqx¿n] ;fdflhs cj:yfsf] Aoª\UofTds lrq0f u5{g\ . gf6sdf gf6\o ¿kx¿sf] dxTjk"0f{ /ª\ud~rLo ;Defjgfx¿ / k|of]ux¿ kfOG5g\ . To;}n] klg xfdLn] o;nfO{ k'gn]{vg ug]{ :jtGqtf lnPsf xf}+ . of] gf6s ;fdflhs–/fhg}lts Aoª\Uosf ;fy} sfl:d/L u|fdL0f hgtfsf] cfzf / lg/fzfsf] syf klg xf] . gf6ssf] cGTolt/ k|d'v kfqx¿ wDafnL -nf]s g[To_df ;+nUg eP/ k/Dk/fut ufog;“u} tLggfdwf/L 6'«gf]esf] cfudgsf] k|ltIff ul//x]sf x'G5g\ . / gf6s Pp6f Aoª\UofTds df]8df uP/ 6'lª\uG5 . pgLx¿n] To:tf] kfq h;sf] cfudgn] lg/fzf, ;d:of, / tfk lgDTofp“5, To;af6 s:tf] cfzf ug]{ eGg] k|Zg pAhfp“5 .
lgb]{zsLo 6«'gf]e nf]s z}nLsf] Ps ;+of]ufGt gf6s xf] t/ o;df ;dsflng ;+j]bglzntfsf] klg vf]hL ul/Psf] 5 . of] gf6s d"n¿kdf Pd Pn s]d'af6 !(^$df n]lvPsf] lyof] t/ o;nfO{ jt{dfg ;Gbe{df al9 ;fGble{s agfpg d}n] k'gn]{vg u/]+ . ;dsflng ;fdflhs /fhlglts cj:yfnfO{ a'em\g o;df xf:o, Aoª\Uo Pj+ cGo gf6sLo tTjx¿sf] k|of]u ul/Psf] 5 . d"Nofª\sgsf] lhDdf ca bz{sx¿df 5f]8]sf] 5' . t/ nf]s z}nLsf] k|of]unfO{ oxf“x¿n] a'lemlbg'x'g]5 eGg] cfzf lnPsf] 5' .
gf6ssf/ df]ltnfn s]d'n] gf6s n]vgsf nflu ;flxTo Ps]8]dL k'/:sf/ / ;ª\uLt gf6s Ps]8]dL k'/:sf/ ul/ b'O{ /fli6«o :t/sf k'/:sf/ k|fKt ul/;s]sf 5g\ . / @)!! df ef/t ;/sf/åf/f kB>L klg k|bfg ul/;lsPsf] 5 . s]d'n] sfl:d/Ldf bh{gf}+ gf6s n]v]sf 5g\ h'g lxGbLdf cg'jfb eO{ ef/tel/ k|bz{g klg eO;s]sf 5g\ . >L s]d' hDd'sl:d/sf] Ps]8]dL ckm cf6{, sNr/ P08 n]ª\Uj]h]haf6 cltl/Qm ;lrj kbaf6 cjsf; k|fKt u/]kl5 xfn :jtGq n]vs Pj lgb]{zssf] ¿kdf sfd ul//x]sf 5g\ . pgL nf]s z}nLsf gf6s n]vgdf ;lqmo 5g\ . 6'«gf]e pgsf] klxnf] gf6s xf] .
lgb]{zs sfl:d/Ldf :gftsf]Q/ / lzIffdf :gfts u/]sf %* jifL{o ejfgL al;/ ol;/ >Lgu/df :yfoL j;f]jf; eO{ ljut $) jif{b]lv sfl:d/L /ª\ud~r ;+nUg gf6\osdL{ x'g\ hf] /fli6«o gf6\o ljBfno gof“lbNnLsf] ljlZfi6 >]0fL k|fKt cn'DgfO x'g\ h;n] lgb]{zgsf nflu km]nf]l;k ;d]t k|fKt u/] . pgL ljVoft lgb]{zssf ;fy} k'/:sf/k|fKt gf6ssf/ klg x'g\ h;n] @% eGbf al9 gf6sx¿ n]Vg'sf ;fy} ;f]kmf] lSnhsf] Ol8k; /]S; / PlG6uf]gL, x]/f]N8 lkG6/sf] b 8Da j]6//, n]/f]O hf]G;sf] b :n]e, l;= Pl6df]esf] km'lhofdf Kathmandu International Theatre Festival 2012
36
23 November to 7 December
23 November to 7 December
37
Kathmandu International Theatre Festival 2012
/ s'cf] kfcf] s'gsf] 8] cfO{ d]6 b lk|G;nfO{ cª\u|]hL, pb'{, / l'xGbL efiffdf cg'jfb klg u/]sf 5g\ . pgL slj / syfsf/ klg x'g\ .
November 30 12 noon & 4:30 p.m. Mandala Theatre Hall
lsª\ Ol8k;, tslns , kmGbafh / csf–gGbd nufotsf pgsf gf6sx¿n] ljleGg k'/:sf/ / ;Ddfg k|fKt u/]sf 5g\ . !(() b]lv !((( ;Dd b]z aflx/ /x“bf pgn] Pl;ofnL / o'/f]k]nL gf6sx¿sf] kof{Kt cWoog u/]sf 5g\ . >L ol;/nfO{ @))^–)* sf nflu ef/t ;/sf/sf] ;“:s[lt ljefuaf6 b'O{ jif]{ l;lgo/ km]nf]l;k k|bfg ul/Psf] lyof] . pgL clxn] ;dsflng sfl:d/L gf6s cleofgsf af/] 8s'd]G6«L zf]w ul//x]sf 5g\ . @))( df pgnfO{ hDd'l:yt cyjfhaf6 If]ldGb/ d]df]l/on k'/:sf/ k|bfg ul/of] .
;d"x Pstf (EKTA) cyf{t\ OG;]Dan sf:dL/ lyP6/ Ps]8]dL sf] :yfkgf ejfgL jfl;/ ofl;/ -/fli6«o gf6\o ljBfno, lbNnLsf cNd'gfO_ n] !(** df u/]sf lyP t/ !(() sf] ;z:q ljb|f]x kl5 ;lqmo /xg ;s]g . o;nfO{ kl5 @))$ df k'gM:yflkt ul/of] / d[tk|foM ag]sf] sf:dL/sf] gf6s k/Dk/fnfO{ lg/Gt/tf lbg] / ljsf; / ;Da4{g ug]{ sfd eof] . Pstfsf] ;+/IfsTjdf dfr{ @))^df >Lgu/df Pstf :s'n ckm 8«fdf P08 /]kf]6{/Lsf] :yfkgf eof] h;n] sf:dL/df /x]sf ;+efjgfo'Qm snfsf/x¿ hf] k|fGtaflx/ uP/ cfkm\gf] snf / ;Lksf] ljsf; ug]{ cj;/af6 al~rt lyP, ltgLx¿nfO{ /ª\ud~rsf] Joj;flos tflnd lbg] sfd z'¿ u¥of] . ;“u;“u} sf:dL/sf] ;DkGg ;Dkbfsf] k|j4{gsf nflu of]ubfg u¥of] .
One World Theatre, Nepal
Nepali Aama The Play Nepali Aama by Broughton Colburn was adapted for the stage by Deborah Merola, translated into Nepali by Balu Thapa, with Merola and Thapa creating the Nepali-English bilingual script. The play, structured as a “day in the life" of Vishnu Maya Gurung, naturally introduces village characters, practices, customs, and beliefs still encountered today. This septuagenarian's reminiscences, often performed as flashbacks by a young Vishnu Maya, go back 100 years to her time as a girl in her natal village, a young married woman in India, and then returning home. Storytelling, Lord Shiva performed by a classical Indian dancer, and Nepali village music, songs and dances add to the liveliness of the production that hopefully reminds foreign guests and even Kathmandu residents of the humor, good sense, wisdom and dignity of villagers.
Director's Note My planned stage adaptation of Nepali Aama motivated my first trip to Nepal in 1990, when I had an opportunity to travel to Vishnu Maya's village in the foothills of the Himal. Joined by a student videographer and a Gurung staff member from World College West, the creative group spent several days in her village, recording traditional songs and dances. Nepali Aama was staged out-of-doors on the WCW campus and at the Himalayan Fair in Berkeley, California. While Nepali Aama performed in Nepal has been a dream of mine ever since that first visit, I never dreamed that we would have the good fortune to help celebrate the 50th Anniversary of the Peace Corps in Nepal, with the support of Cultural Affairs of the US Embassy in Nepal. It will be a special honor to perform the day of the swearing-in of the 20 new Peace Corp volunteers before they travel to villages to meet their own future Nepali Aamas.
Kathmandu International Theatre Festival 2012
38
23 November to 7 December
23 November to 7 December
39
Kathmandu International Theatre Festival 2012
The Director Deborah Merola, Ph.D., is the Founding Artistic Director of One World Theatre (OWT) and a 2003 and 2011 Senior Fulbright in Theatre at Tribhuvan University, in 2011 in collaboration with the Institute for Advanced Communication, Education and Research (IACER), and Aarohan-Gurukul Theatre. In addition to the recent OWT productions, in Nepal, Dr. Merola has directed The Conduct of Life and Death of a Salesman (2003), Desire under the Elms (with Aarohan-Gurukul Theatre in Nepali), Angels in America: Millennium Approaches, and the original At the Rainbow's End, based on Native American stories (all in 2011), and To Kill a Mockingbird (2012). Merola brought Miss Julie to the 2008 Kathmandu International Theatre Festival and an authentic tango song version of Kiss of the Spider Woman to the Festival in 2010.
Cast and Credits On Stage NEPALI AAMA SANT BAHADUR, Aama's elder brother CHYAURE, Aama's younger sister SUN MAYA, Aama's daughter MIN BAHADUR, Sun Maya's husband JAMUNA, Amma's neice NEER, wife of Amma's nephew GAURI, village woman CHARI MAYA, village woman AITE, village man TAGU, village teenager PREM, village teenager BRAHMIN ASTROLOGER MAAITA, Aama's granddaughter JAMUNA, Aama's granddaughter ASHOK, Aama's grandson INDIAN CLASSICAL DANCER SHIVA/NAGA MUSICIANS MADAL, TINCHHU DAMPHU FLUTE Off Stage STAGE MANAGER ASSISTANT STAGE MANAGER Kathmandu International Theatre Festival 2012
CHOREOGRAPHER, Arjun B.C. MUSIC DIRECTOR PRODUCTION MANAGER Rajkumar Pudasaini LIGHTING DESIGNER SET DESIGN, CONSTRUCTION Hum B.C. COSTUMES, PROPS By Ensemble ACADEMIC LIASION Anita Dhungel Based on Nepali Aama: Life Lessons of a Himalayan Woman by Broughton Coburn Translated by Balu Thapa English/Nepali script by Deborah Merola and Balu Thapa Adapted for the stage by Deborah Merola Directed by Deborah Merola
The Group
Mithila Sharma Desh Bhatta Khanal Mistree Thapa Aruna Karki Rajkumar Pudasaini Pashupati Rai Saraswati Chaudhary Samuna K.C. Pramila Katuwal Puskar Gurung Prabin Khatiwada Bipin Karki Ruru Manisha Oli Samjhana Oli Anish Oli
One World Theatre (OWT) is a newly founded theatre company dedicated to presenting intercultural, social justice productions in English, especially plays from South Asia, the Western canon, and contemporary American plays, that are affordable, experimental, and professional. Since its inaugural production of Oleanna (November 2011) by David Mamet, the Experimental Wing of OWT has presented Ishq: the Madness of Love, an original dramatic enactment of poetry from Iran, Turkey, India and Nepal, and a staged reading of The Goat, or Who is Sylvia?, the controversial and compelling play by Edward Albee. “Main stage" productions include MASTER HAROLD…and the boys by South African playwright Athol Fugard. and Ah, Wilderness! the only comedy by Eugene O'Neill in a tent production for American Independence Day. Our special performances of Nepali Aama are a fitting climax to a remarkable year of creative collaborations.
Arjun B.C. Hum B.C. D.B. Kaliz Dev Lama Aaiman Ghlan Sunaina Panthy
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23 November to 7 December
23 November to 7 December
41
Kathmandu International Theatre Festival 2012
g]kfnL cfdf
December 1
gf6s
12 noon & 4:30 p.m.
n]vs a|p6g sf]jg{sf] k':ts g]kfnL cfdfnfO{ 8]af]/f d]/f]nfn] /ª\ud~rsf nflu cg's'ng u/]sL x'g\ . an' yfkfn] o;nfO{ g]kfnLdf cg'jfb u/] / d]/f]nf / yfkfn] c+u]|hL / g]kfnL å}eflifs l:j|mK6 tof/ u/] . lji0f'dfof u'¿ªsf] hLjgsf] Pslbg df cfwfl/t of] gf6sdf :jtM ufp“n] kfqx¿, cfh klg kfOg] Jojxf/x¿, /Lltl/jfh, / ljZjf;x¿ h:tf ljifo ;d]l6Psf] 5 . km\Nof;Aofssf] ¿kdf k|:t't o; gf6sdf ;o jif{ k5fl8 lji0f'dfof cfkm" ;fgf] s]6L 5“bf cfkm\gf] dfOtL uf“pdf, ef/tdf Ps ljjflxt o'jtLsf] ¿kdf / cfkm\gf] 3/ kms]{sf] 36gfx¿aLr syf 3'Db5g\ . syfjfrg, ef/tLo zf:qLo g[Toª\ugfn] k|b{zg u/]sf] eujfg lzjsf] gfr / g]kfnL uf“psf ;“uLt, uLt / gfrx¿n] gf6snfO{ yk dgf]/d agfPsf 5g\ / ljb]zL kfx'gfx¿nfO{ / sf7df8f}“jf;LnfO{ ;d]t ufp“n]x¿sf] 76\of}nLkg, 1fg / k|lti7fnfO{ emNsfp“5 eGg] cfz 5 .
lgb]{zsLo g]kfnL cfdf sf] gf6\o ¿kfGt/0f ug]{ d]/f] OR5fn] dnfO{ klxnf] k6s !(() df g]kfn cfpg pTk|]l/t u¥of] h'ga]nf dnfO{ lxdfnsf] sfvdf /x]sf] lji0f'dfofsf] uf“p hfg] cj;/ ldNof] . Pp6f ljBfyL{ lel8of]u|fkm/ / jN8{ sn]h j]:6sf Ps u'¿ª\u :6fkm ;b:o ldn]/ l;h{gzLn ;d"xn] Tof] uf“pdf k/Dk/fut uLt / g[Tox¿ /]s8{ ub}{ lgs} lbgx¿ latfof] . g]kfnL cfdf 8ANo'l;8ANo' SofDk;df cfp6 ckm 8f];{ / Soflnkmf]lg{of aSnL{sf] lxdfnog km]o/df d~rg ePsf] lyof] . Tof] klxnf] e|d0fb]lv g} g]kfnL cfdfnfO{ g]kfnd} d~rg ug]{ ;kgf af]s]sL ePklg g]kfnl:yt cd]l/sL b"tfjf;sf] sNr/n ckm]o;{sf] ;xof]udf g]kfnsf] kL; sK;{ :yfkgf ePsf] %)cf}+ hoGtL dgfpg] j|mddf xfd|f] g]kfnL cfdf d~rg ug]{ ;fOt h'¥of] . @) hgf gof“ kL;sK;{ :jo;]jsx¿ cfkm\gf eljiosf g]kfnL cfdfx¿ e]6\g hfg'cl3 ;ky lng] lbg kf/]/ xfd|f] gf6s d~rg ug{ kfpg' xfd|f] ljz]if ;f}efUo xf] .
lgb]{zs 8]af]/f d]/f]nf, lkPr8L, jg jN8{ lyP6/sL ;+:yfks snf lgb]{zs x'g\ . pgL @))# / @)!! Dff l;lgo/ km'na|fO6 Og lyP6/ sf x}l;otn] lqe'jg ljZjljBfnodf / @)!! Df cfP;/ / cf/f]x0f u'¿s'ndf cfj4 lyOg\ . ;+:yfsf] xfn} pTkflbt gf6sx¿ afx]s g]kfndf 8f= d]/f]nfn] 8]y ckm c ;]N;d]g, l8hfo/ c08/ b PNd\;, P~hN; Og cd]l/sf nufotsf gf6sx¿ lgb]{zg ul/;s]sL l5g\ . d]/f]nfn] @))*sf] sf7df08' cGt/f{li6«o lyP6/ km]l:6endf ld; h'nL / @)!) df ls; ckm b :kfO8/ j'dg sf] d~rg u/fPsL lyOg\ .
;d"x gjul7t jg jN8{ lyP6/ Ps cGt/;f“:s[lts, ;fdflhs Gofosf ljifoj:t' ePsf gf6sx¿, ljz]iftM blIf0f Pl;of, klZrdL Sofgg / ;dsflng cd]l/sL gf6sx¿nfO{ c+u|]hLdf k|:t't ug]{ pb]Zon] vf]lnPsf] lyP6/ sDkgL xf] . o;n] d~rgLo, k|of]ufTds, / Joj;flos gf6sx¿ bz{s dfem k:sg] pb]Zo af]s]sf] 5 . gf]e]Da/ @)!! Dff 8]le8 Dofd6sf] cf]lnPgf gf6saf6 cfkm\gf] ofqf yfngL u/]sf] jg jN8{ lyP6/sf] k|of]ufTds zfvfn] O/fg, 6sL{, ef/t / g]kfnsf sljtfx¿sf cfwf/df /lrt O:sM b Dof8g]; ckm ne nfO{ k|:t't ul/;s]sf] 5 eg] P8jf8{ PNaLsf] ljjfbf:kb gf6s b uf]6 c/ x' Oh l;lNeof< sf] kf7 jfrg klg d~rg ul/;s]sf] 5 . d'Vo d~rgdf blIf0f clk|msL gf6ssf/ cyf]n km'uf8{sf] gf6s df:6/ x]/f]N8 P08 b AjfOh / o'h]g cf] lgnsf] Ps dfq xf“:o gf6s cf, jfON8/g]; kb{5g\ . kl5Nnf] gf6s cd]l/sL :jtGqtf lbj;sf cj;/df dl~rt lyof] . xfd|f] clxn]sf] ljz]if k|:t'tL g]kfnL cfdf of] jif{sf] l;h{gzLn ;xsfo{sf] cg'kd gd"gf xf] . Kathmandu International Theatre Festival 2012
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23 November to 7 December
Mandala Theatre Hall
Actors' Studio, Nepal
Kafka: Ek Adhyaya The Play The play is set in sanatorium where Kafka is admitted as a tuberculosis patient. The ward boy enters to inform Kafka that Felecia, his girlfriend, is waiting to see him. But Kafka is in bathroom and from here on, the play begins its journey in to back and forth, treading upon his relationship with Melina, Dora Dianment, Felecia, Gustav, sister Ottala, father and mother. In the mean time it unfolds the sociopolitical scenario of the World War I and Nazism. The play tries to capture Kafka’s view on different subjects and events. The play indeed makes a deep study of Kafka’s letters, particularly to his father, mother, his girl friend Felecia, Melina, and Dora.
Director's Note It was 15 years ago I first met Kafka... through his writing. I was studying at National School of Drama, New Delhi. Kafka's life, thoughts, philosophy and writing inspired me a lot. A coincidence, after coming back home I met Kafka through a Nepali play Apatra written by Ramesh K.C., one of my close friends. I was linked with it as a director. In this play, K.C. has created a world of thoughts through Bhaskar, a character who interacts with Joseph K., a character from Kafka's The Trial. It had created a world of magic realism raising a serious question on human existence. Kafka is known basically for his writings. He is regarded as the most influential writer of 20th century. But Kafka: Ek Adhyaya is more about his life and intimate relations. Asif, for this, has brought the knowledge from Kafka's letter to his father and from other many biopics. Almost Kafkaesque, his colourful life, the society he lived in, his intimate relations, his mentality and his interaction with the everyday realities appealed me to have this venture with Kafka: Ek Adhyaya. The theatrical presentation of imageries and feeling from a historical epoch in the time we are living suggests our love for theatre. This is an ample attempt to link history with the time and society we are living in.
23 November to 7 December
43
Kathmandu International Theatre Festival 2012
The Playwright Assif Ali Haidar is a post graduate of National School of Drama (NSD), New Delhi, India. He specialized in acting in 2000. After he got convocated from NSD, Mr. Ali has been associated with NSD’s repertory company. Under this banner, he has performed in several plays and also translated Anaam Daska Potha. In his professional career he has written more than a number of dramas. Mast Kalander is his one of his best plays. He marked his literary presents physically in writers workshop held in the Royal Court London, 2001. Kafka Ek Adhyay has established Mr. Ali as the radiant and well crafted playwright.
The Director Anup Baral, Artistic Director of Actors Studio, is theatre graduate from National School of Drama, New Delhi. He is one among the few to promote Nepali theatre and give it the professionalism it deserves. An actor, director and now a teacher with the commence of his acting school Actor's Studio, Baral is an icon by all standards. A powerhouse on stage, Baral's understanding of the stage makes him a delight to watch. He has done more then 30 full length plays and has worked in a number of films as well. And, he was awarded the national award as best actor for the movie Dasdhunga.
Cast and Credits On stage Kafka: Father: Felecia/Melina: Mother: Ottala: Dora: Gustav: Ward boy: Waltz dancers: Off stage
Anup Baral Prakash Ghimire Diya Maskey Shanti Giri Lunibha Tuladhar/Sarita Giri Menuka Pradhan Aashant Sharma Bikram Pariyar Sudam Chhatkuli, Elina Thapa, Jivan Adhikari, Binita Thapa Magar, Elen Gurung, Kamal Devkota
Set design: Construction: Choreography: Costume design: Light design: Sound editing: Recording studio: Props:
Sujan Chitrakar Hom B.C Dipendra Shahi and Satyam Mahesh Maharjan Rambabu Regmi Dev Nyaupane Studio Mandala Diya, Shanti, Jivan
Kathmandu International Theatre Festival 2012
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23 November to 7 December
Cinematography: Asst. direction for cinematography: Video operation: Stage Manager: Translation: Playwright: Asst. direction: Concept and direction:
Pramod Karki Rajesh Bishwokarma Ramesh Kumar Pudasaini Rajendra Shrestha Aashant Sharma Assif Ali Aashant Sharma Anup Baral
The Group The Actors’ Studio is a sister organization of renowned theatre group Pratiwimba – A highly innovative and experimental theatre group established I 1990 in Phokhara. The Actors’ Studio has been imparting intensive three months training in Dramatic Arts and Acting in a very organic and interdisciplinary way from last several years. The Studio consists of writer,s artists, musicians, fashion designers, graphic artists, anthropologists and actors. Its motto is to explore and expand the multiculturalism in theatre and its dynamics to different levels. The Studio simply believes that theatre can stimulate human sensitivity and enrich the imagination and provoke people to be part of the social transformation. The Studio has been continuously performing plays – both Nepali and foreign for more than a decade and half. The performance of Actors’ Studio captures the human complexities and contemporary time and space which are sharply defined in style, form, interpretations, kaleidoscopic range. All these features and innovative spirit of creations compel one to acknowledge its originality and uniqueness. It has performed not just on stage but on the street and villages, in an effort to raise consciousness on variety of issues like the oppression of minorities, political chaos, unrestrained pollution, corruption, body politics, crime and terrorism, holocaust and HIV AIDS etc. The Actors’ Studio has carved a different niche in Nepali theatre by staging artistic yet committed and socially relevant plays. It has contributed to establish the presence of Nepali theatre into international arena by producing radical, experimental and original works.
Contact address: Actors' Studio Gyan Mandala, Jhamsikhel, Lalitpur, Nepal. Phone No. 016910567 / 9751023023 / 9851091303 E-mail: info@actorsstudio.com.np / actorsstudio@gmail.com Web: actorsstudio.com.np
23 November to 7 December
45
Kathmandu International Theatre Festival 2012
sfkm\sf M Ps cWofo
December 1
Gff6s
11. a.m to 4:00p.m. Union House, Anamnagar, Kathmandu
c:ktfnsf] b[Zo . l6la nfu]sf]n] sfk\msfnfO{ c:ktfndf egf{ ul/Psf] 5 . sfk\msfnfO{ e]6\g km]nLl;of cfPsL l5g\ . km]nLl;ofn] aflx/ klv{/x]sf] s'/f jf8{ Ajfon] sfk\msfnfO{ ;'gfp“5 . t/ sfk\msf afy?ddf 5 . oxLaf6 gf6s cl3 a9\5 / sfk\msfsf] kfl/jfl/s tyf cGt/ª\u ;DaGwsf s'/f phfu/ x'b} hfG5g\ . kl/jf/sf ;b:o nufot ;fyLx?;“u p;sf] ;DaGwdf gf6s s]lGb|t 5 t/ o;;“u} klxnf] ljZjo'4 / gfhLafb h:tf ;fdflhs tyf /fhg}tLs ljifo klg o;df ;d]l6Psf 5g\ .
lgb]{zsLo !% jif{ cl3 d}n] gof“ lbNnLsf] /fli6«o gf6\o ljBfnodf k9\b} ubf{ k|mfGh sfkm\sf;“u d]/f] e]6 ePsf] lyof] === pgsf] s]lx s[ltsf] dfWodaf6 . pgnfO{ k9\b} ubf{ dnfO{ pgsf] hLjg, bz{g, pgn] af“r]sf] ;do / pgsf] n] vgsf] hfb'n] cToGt} OG:kfP/ u/]sf] lyP . g]kfn kms]{kl5 sfkm\sf;“u ;DalGwt Pp6f csf]{ ;+of]u cfO{nfUof] M d]/f] glhssf] Ps ldq /d]z s]=;L=n] ckfq eGg] gf6s n]v]sf lyP / d Tof] gf6s;“u Pp6f lgb]{zssf] ?kdf hf]l8g k'u]“ . sfkm\sfsf] b 6«fonsf] Ps kfq hf]z]km s]= ;+u g]kfnL rl/q efis/sf] ;+jfb u/fP/ Pp6f lalrq j}rfl/s ;+;f/ v8f u/]sf lyP pgn] . / of] ;+;f/n] hfb'do oyf{yjfbsf] sn]j/ /r]sf] lyof] / dfG5] sf] cl:tTjdfly 7'nf] k|Zg 5f]8]sf] lyof] . sfkm\sfnfO{ w]/}n] pgsf s[ltsf] cfwf/df lrG5g hf] la;f}+ ztfJbLsf] ;a}eGbf k|efjsf/L n]vssf] ?kdf dfG5]x? aLr pkl:yt 5g\ . t/ sfkm\sf M Ps cWofo pgsf] s[ltsf] af/] df eGbf pgsf cGt/ª\u, kfl/jfl/s ;DaGw;“u ;DalGwt 5 . cl;kmn] o;sfnflu sfkm\sfn] cfkm\gf] lktfnfO{ n]v]sf] lr6\7L / cGo w]/} afof]lks s'/fx?;“u hf]8]sf 5g\ . nueu sfkm\s]:j'm cGbfhdf / Pp6f n]vs, p;n] af“r]sf] ;dfh, p;sf cGt/ª\u ;DaGw, p;sf] dfgl;s l:ylt, cf;kf;sf] oyfy{;“u p;n] u/]sf k|ltlqmof cflbn] dnfO{ sfkm\sf Ps M cWofo ug{ k|]l/t u/]sf] xf] . of] Pp6f sfnv08sf] laDa / cg'e"ltnfO{ xfdL af“rL /x]sf] ;dfhdf k'gMk|:t'lt ug{ rfxg' xfdLx?sf] /ª\ud~rLo df]x xf] . P]ltxfl;stf af]s]sf] Pp6f ;donfO{ cfhsf] xfd|f] ;dfh / l:ytL;“u hf]8]/ x]g]{ ljgd| k|of; klg xf] .
Theater in the Cyberage An International Seminar In spite of deep purposes and profound meanings right from its beginning, theatre apparently had humble origins. It was sustained in a diversity of forms for a variety of reasons, and the rise of machine, electricity and technology was seen as a boon for theatre by many. But as television and film hit the scene as the major entertainers, theatre was forced to take a back seat, apparently forever. Responses to this changed and challenged scenario in which theatre was now to operate were varied: some theatre practitioners chose to assimilate the new found devices into the old art, whereas others took a more puritan approach and advocated for keeping theatre untouched by the changes. The debate continues, and it seems to have even more significance at the advent of the 21st century. This seminar organized as a part of Kathmandu International Theatre Festival 2012 attempts not only to recap the crux of this debate so far, but also tries to discuss theatre in relation to the all pervading cyber world and the raging new social media, in addition to film and television.
Session One: Paper Presentation Paper Presenters
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Gaurav Lamichhane, Nepal
cfl;km cln x}b/, /fli6«o gf6\o ljBfnosf :gftsf]Q/ x'g . pgn] ;g\ @))) df clego ljifodf ljz]if1tf xfl;n u/]sf x'g\ . pgn] o'k}| gf6sx? ug{sf] ;fy} cgfd bfzsf kf]yfnfO{ efjcg'jfb klg u/]sf 5g\ . @))! Dff pgn] /f]on sf]6{ n08gn] u/]sf] /fO6{; js{zkdf ;xeflutf hgfP . sfk\msfM Ps cWofon] pgnfO{ Pp6f cToGt k|v/ / lzNkx:t gf6ssf/sf] ?kdf :yflkt u/]sf] 5 .
Parnab Mukharjee, India
;d"x PS6;{ :6'l8of] g]kfnsf] Ps gf6\o;+:yf k|ltlaDasf] elugL ;+:yf xf] . k|ltljDa cfk\mgf cToGt gljg / k|of] uwdL{ gf6\o k|:t'ltsf nflu rlr{t 5 . PS6;{ :6'l8of] k|ltlaDasf] Tolx gljg ;f]rsf] kl/0ffd xf] . PS6;{ :6'l8of]n] cGt/ ljwfsf] aLrdf cg'zf;g /fv]/ df}lns clego Pj+ /ª\ud~rsnf ;DalGw tLg dlxg] ;3g k|lzIf0f pknAw u/fp“b} cfPsf] 5 . PS6;{ :6'l8of]sf ;b:ox?n] ljut 8]9 bzsb]lv :jb]zL / ljb]zL gf6sx? nuftf/ ?kdf ub{} cfO/x]]sf 5g\ . o;sf clwsf+z k|:t'ltx?n] hLjgsf hl6ntfnfO{ ;df“p5g\ / ;dsfnLg ;do / :yfgnfO{ kqmG5g\ . oL k|:t'ltx?df z}nL / ¿ksf] a]hf]8 cg'e"tL e]6\g ;lsG5 / df}lnstf Pj+ ljlzi7tfnfO{ cg'e't klg ug{ ;lsG5 . of] ;+:yfn] d~rdf dfq} xf]Og ;fdflhs r]tgf hufpg ljljw ljifox? Dffly gf6s u/]sf] 5 / ;8s tyf ufp“ufp“;Dd gf6sx?nfO{ lnP/ uPsf] 5 . PS6;{ :6'l8of]n] g]kfnL /ª\ ud~rdf snfTds, ;fy{s / ;fdflhs?kdf k|lta4 gf6s u/]/ ljlzi6 klxrfg agfp“b} cfPsf] 5 . / cfk\ mgf ¥ofl8sn, k|of]uwdL{ Pj+ df}lns sfdx?åf/f g]kfnL /ª\ud~rnfO{ ljZj /ª\ud~rsf] :t/df :yflkt ug] { k|of; u/]sf] 5 . Kathmandu International Theatre Festival 2012
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23 November to 7 December
Prakash Subedi, Nepal Prof. Dr. Shafi Ahmed, Bangladesh Dr. Shiva Rijal, Nepal Dr. Utpal K Banerjee, India Yubraj Ghimire, Nepal Refreshments
Session Two: Panel Discussion
23 November to 7 December
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Kathmandu International Theatre Festival 2012
Cast and Credits December 2 12 noon & 4:30 p.m. Mandala Theatre Hall
On Stage Asha Kaji Shrestha Raj Kumar Risal
Taranga, Nepal
Sangeet Sapkota
Amar Singh Natak in Search of Amar Singh
Bijal Shrestha (Kabbu) Deepmala Pariyar Ram Thokar
The Play
Laxman Thokar
Balkrishna Sama wrote,“Amar Singh sank the country in the debt of patriotism."
Sanjeeta Ghimire Madhavlal Shrestha
Amar Singh, the immortal hero of the saga of Nepali pride. The play searches this historical man. All the characters in the play are in search of Amar Singh. While the play appeals to every person to keep love for nation alive by searching for Amar Singh within oneseL“, the play also tries to fuL“ill another objective: quest for nationality. Amar Singh Natak in Search of Amar Singh is replete with the quest for nationality. The country is in a dire need of Amar Singh.
Binod Kumar Baniya Pralaya Chaulagain Off Stage Ramsharan Dulal Lal Bahadur Poudel Group: Taranga Sanskritik Parishad, Hetauda Playwright: Tulsi Thapa Director: Ujjwal Sharma Bhandari
The Playwright
The Group
Thulsi Thapa, who has been involved in the Nepali literature by writing poems, lyrics and plays for the last four decades from outside valley, is a litterateur. Ek Nimesh Anantako (an anthology of poems), is his first work. Though it didn't get a wide publicity as it happens with the works from outside the capital, Thapa was awarded with Narayani Bangmay Prize- 2058. He has written many plays for staging at the local club and colleges he studied.
Established in 2051 BS,Taranga Sanskritik Parishad has been able to establish its cultural identity in Hetauda. It is also known as Taranga Hetauda. Having conducted dozens of activities on song, dance, and acting, Taranga has already run a theatre house and successfully organized Multilingual Theatre Festival 2068 in the capacity of local Coordinator. Having performed Anikalko Yatra, the first ever play based on the Chepang culture during the Arohan National theatre Festival- 2064 and Multilingual Theatre Festival 2068, Tarang is staging Amar Singh Natak in Search of Amar Singh at Arohan International Theatre Festival 2012.
Director's Note Our play is a search for Amar Singh. We must find Amar Singh together. Nepal is in a dire need of Amar Singh.
The Director Ujjwal Sharma Bhandari, who has been active in the Nepali theatre for the last 18 years, is the President of Taranga Hetauda. Bhandari has directed several street plays. Bhandari, is also a social activist and entrepreneur in Hetauda. Kathmandu International Theatre Festival 2012
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23 November to 7 December
23 November to 7 December
49
Kathmandu International Theatre Festival 2012
December 3
cd/l;+xsf] vf]hLdf cd/l;+x gf6s
12 noon & 4:30 p.m. Mandala Theatre Hall
gf6ssf af/]df afns[i0f ;dn] n]v]sf lyP– æcd/l;+xn] 8'afof] b]znfO{ C0fdf b]z eQmLsf]Æ .
R.A.A.A.M, Estonia
g]kfnL uf}/jufyfsf cd/ gfos cd/l;+x . o:tf Oltxf; k'?ifsf] vf]hL gf6sdf ul/Psf] 5 . gf6ssf ;a} rl/qx? cd/l;+xsf] vf]hLdf 5g\ . k|To]s gful/sn] cfkm}leq cd/l;+x vf]Hg], /fi6««k|]dsf] t]hnfO{ ;b}j hLljt /fVg cfu|x 5 . o; gf6ssf] csf]{ clei6 xf] /fli6««otfsf] vf]hL . cfhsfn b]zn] cd/l;+xsf] vf“rf] dx;'; ul//x]sf] 5 .
lgb]{zsLo Oltxf; k'?if, g]kfnsf uf}/j, cd/gfos cd/l;+x . cfhsfn g]kfndf cd/l;+xsf] vf“rf] ePsf] dx;'; x'g yfn]sf] 5 . xfd|f] cd/l;+x gf6s klg cd/l;+xsf] vf]hL ub}{5 . ;a} ldn]/ cd/l;+xnfO{ e]6\g} k5{ .
n]vs t'N;L yfkf df]km;ndf a;]/ sljtf uLt / gf6s ljwf dfkm{t ljut rf/ bzsb]lv g]kfnL ;flxTodf lg/Gt/ nflu k/]sf Ps ;fws x'g\ . t'N;L yfkfM Ps lgd]; cgGtsf] -sljtf ;“u|x_ pgsf]] klxnf] s[lt xf] . df]km;nsf] eGg] rngn] xf]nf o; ;“u|xn] cfjZos rrf{ gkfPtfklg gf/fo0fL afª\udo k'/:sf/ @)%* af6 ;Ddflgt x'g'sf ;fy} pgsf gf6sx¿ :yfgLo Sna, sn]hx?df d~rg eO;s]sf 5g\ .
lgb]{zs ljut !* jif{b]lv /ª\usd{df ;s[o pHjn zdf{ e08f/L t/ª\u x]6f}8fsf cWoIf x'g\ . gf6s n]Vg], v]Ng] / lgb]{zgsf cnfjf uLt ;ª\uLtdf ;d]t bVvn /fV5g . pgL x]6f}8fsf Joj;foL ;d]t x'g\ . ljleGg gf6s dxf]T;j tyf sfo{zfnfx?df ;xefuL eO/xg] logL /f]6/L Sna ckm n8{ a'4 x]6f}8fsf l4lto pkfWoIf / dsjfgk'/ alS;ª\u ;+3sf t[lto pkfWIf ;d]t /x]sf 5g\ .
;d"x @)%! ;fnb]lv x]6f}+8fdf ;kmn klxrfg agfpg ;kmn / ;s[o ;+:yf xf] t/ª\u ;f“:s[lts kl/ifb . uLt–;ª\uLt, g[To, ufog, / clegodf cg]sf} ultljlw ul/Psf] t/ª\u gf6s 3/;d]t ;~rfng u/L ax'eflifs gf6s dxf]T;j @)^* df :yfgLo ;+of]hssf] e"ldsf lgjf{x u/L dxf]T;j eAotfsf ;fy ;DkGg ul/;s]sf] 5 . g]kfnd} klxnf] k6s r]kfª\u ;“:s[ltdf cfwfl/t gf6s clgsfnsf] ofqf cf/f]x0f /fli6«o gf6s dxf]T;j– @)^$ / ax'eflifs gf6s dxf]T;j– @)^* df k|bz{g ul/;s]sf] o; ;d"xn] cf/f]x0f cGt/fli6««o gf6s dxf]T;jdf cd/ l;+xsf] vf]lhdf cd/l;+x gf6s d~rg ub}{5 .
Solo The Play Every year, unique works of art are sold to private collectors. Most of the private collections, which are situated in different continents, are hidden from the public. The collectors prefer to stay anonymous; they hire men of straw from other countries to make the deals for them. Many masterpieces, which can be classified as valuable classical art, disappear forever from the public to be included in the hidden collections of the previously mentioned collectors.We will never know what the fate of a particular drawing, painting or sculpture is going to be like. Containing elements of grotesque, the mono performance “Solo" is an ironical drama which refers to a problematic issue. The main character is an extremely wealthy collector who has a superman complex. He adores opera music and collects paintings which are very rare, and which he gets at the auctions. He has found an original way how to identify with the old masters and how to transfer their talent.The protagonist thinks that the spiritual energy of famous masters has been crystallised like a spiritual salt in the paintings which have been created centuries ago. Cooking and eating the priceless paintings by famous astists, he believes that this is the way to acquire the spiritual as well as the physical energy of these creators. Arranging private exclusive dinners worth a fortune for participants, he changes the works of art into new culinary values which he eats together with the selected people. The chef is a peculiar criminal who destroys the heritage of the mankind in an unusual way contributing to unreasonable wastage and voracity. He does it at the time when, due to the global economical crisis, the unemployment and the high prices of foods have caused a situation when more than 1 milliard people have to suffer from the constant famine...
The Playwright Born in 1956 in Käru, right in the middle of Estonia, Ervin Õunapuu has multiple identities: He is a prose Kathmandu International Theatre Festival 2012
50
23 November to 7 December
23 November to 7 December
51
Kathmandu International Theatre Festival 2012
writer, scriptwriter and film director, playwright, painter, and also an actor. He is also well known for his theatre sets and surrealist water-colours. In 1996, he published his first novel ‘Olivia' This debut novel elevated him to the position of a cult writer for his audience. Eesti gootika (Estonian Gothic) and Teie mälestuseks, kes iganes te olete ja kus asute (In Memory of You, Whoever and Wherever You Are) are his other published works. One of his short story Väike Lilli Noarootsist (Little Lilli from Noarootsi) earned him the prestigious Friedebert Tuglas Short Story Award. His literary works have been translated into English, Greek, Armenian, Latvian, French, Swedish, German, Finnish, Hungarian and Russian.
The Director Hendrik Toompere Jr (1965) is a theatre director and actor in Estonian National Theatre and also a lecturer. He has won awards of best director and best actor in Estonia. He is mostly interested in contemporary drama and language of theatre. Hendrik Toompere has been directed more than 40 performances.
;f]nf] gf6s ljeT;tfsf] ljifonfO{ ;d]6]sf] ;f]nf] Ps Aoª\UofTds gf6s xf] h;n] Ps ljs/fn ;d:ofnfO{ bzf{p“5 . o;sf] d'Vo kfq Ps pRrtfef;n] el/Psf] clt wgf9\o ;+sngstf{ xf] . cf]k]/f ;“uLtsf] cg'/fuL p;n] clt b'n{e / lnnfd ljlqmdf kfOg] k]lG6ª\ux¿ ;+sng u5{ . p;n] k'/fgf x:tLx¿;“u klxrfg ug]{ / pgLx¿sf] k|ltefnfO{ :yfgfGt/0f ug]{ Pp6f cgf}7f] tl/sf kQf nufPsf] 5 . p;n] k|Voft x:tLx¿sf] cWoflTds zlQm pgLx¿n] ztflAbof}+ cuf8L l;lh{Psf lrqx¿df a;]sf x'G5g\ eGg] ljZjf; /fVb5 . To;}n] To:tf k|Voft x:tLx¿sf cd"No lrqx¿nfO{ ksfP/ vfPdf tL x:tLx¿sf cWoflTdssf ;fy} ef}lts zlQm k|fKt ug{ ;lsG5 eGg] s'/fdf pm ljZj:t 5 .
Author: Ervin Õunapuu Director and performer: Hendrik Toompere
yf]/} r'lgPsf JolQmsf nflu c;fWo} vlr{nf] ljz]if ef]h cfof]hgf u/L p;n] tL snfsf j:t'x¿nfO{ vfg]s'/fsf ljz]if gof“ gof“ kl/sf/x¿df kl/0ft ub}{ k:sg] uYof]{ . dfgj ;Eotfsf] ax'd"No ;Dkbf gi6 ub}{ ljj]sxLg Iflt / nf]edf ;xefuL x'g] ;]km Ps cgf}7f] ck/fwL xf] . p;sf] of] ck/fw ljz]iftM o:tf] ;dodf 3l6t ePsf] 5 h'ga]nf ljZjdf cfly{s dGbL 5fPsf]n] a9Lsf] a]/f]huf/L / vfg]s'/fsf] a9\bf] dxª\uLn] ubf{ s/f]8f}+ dflg; ef]sd/Lsf] lzsf/ x'g k/]sf] 5 .
The Group
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Cast and Credits
The non-profit institution R.A.A.A.M. is a voluntary union, which in its first decade specialized on the realization of different culture projects, which principal method of work was the staging of documentary material with the different thematic (interviews, social and cultural researches, letters, diaries etc) in the plays for audiences of each age. In recent years they have changed their focus on inviting foreign directors to work in Estonia. Abroad have performed in Russia, Germany, Australia, New Zealand, USA, Canada, Iran, Austria, Finland, Armenia, India.
Address
of] gf6s * cui6 @))*df ¥ofl8;g ;f;, 6lNng, P:6f]lgofdf 3l6t jf:tljs 36gfdf cfwfl/t 5 . of] sf08nfO{ c3l6t 3f]if0ff ul/ JolQmut ljj/0fnfO{ !#^ b]zsf] uf]Ko h]g]ef ;Demf}tf cg'¿k juL{s[t ul/Psf] 5 h;sf] rf;f] dfgj ;Eotfsf] ;f“:s[lts ;Dkbfx¿ eTsfpg] / ljufg]{ ljleGg ck/fwx¿ /x]sf] 5 .
gf6ssf/ !(%^df dWo P:6f]lgofsf] s]o¿df hGd]sf Plj{g cf]gfk'sf] y'k|} kl/ro 5g\M pgL Ps kB n]vs, l:j|mK6 n]vs / lkmNd lgb]{zs, gf6ssf/, k]G6/ / snfsf/ x'g\ . pgL /ª\ud~rsf] ;]6 l8hfOgsf nflu klg kl/lrt 5g\ . !(^^ df pgn] cfkm\gf] klxnf] pkGof; cf]lnleof n]v] . o; pkGof;n] pgnfO{ cfkm\gf] kf7sdfem Ps kl/lrt n]vssf ¿kdf :yflkt u¥of] . P:t]O u'ltsf / t]o]O dfcn]t';]S; pgsf c¿ k|sflzt s[lt x'g\ . pgsf s[ltx¿ c+u|]hL, u|Ls, cd]{lgog, Nofl6lePg, km|]Gr, l:jl8;, hd{g, lkmlg;, xª\u]l/og, / /l;og efiffx¿df cg'jflbt 5g\ .
Tallinn,10118, Süda 8-7a Phone: (+372) 56685880 E-mail: mart.meos@mail.ee www.raaam.ee
lgb]{zs x]lG8«s ODk]/] h'lgo/ -!(^%_ Ps /ª\ud~r lgb]{zs, P:6f]]lgog 8«fdf lyP6/sf cleg]tf / Ps n]Sr// klg x'g\ . pgn] ;jf]{Ts[i6 lgb]{zs / ;jf]{Ts[i6 cleg]tfsf] pkflw kfPsf 5g\ . pgnfO{ d'Vot ;d;fdlos gf6s / /ª\ud~rsf] efiffdf ¿rL 5 .
Kathmandu International Theatre Festival 2012
52
23 November to 7 December
23 November to 7 December
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Kathmandu International Theatre Festival 2012
The Director December 4 12 noon & 4:30 p.m. Mandala Theatre Hall
Shamayel Theatre Academy, Iran
Off for Some Days
Seyed Hodjat Tabatabai, born in 1975, licensed in theater acting and directing at Azad University of arak. Some of his products: The kind tone, Bear, Whispers behind the frontline, Rostam and Esfandiar, Being tragedy comedian against him, The ugly beauty, Bizhan and Manizhe, Good messenger in the battle, Snowman's melody, Colonel and birds, Death of a salesman.
Cast and Credits Seyed Hodjat Tabatabai Mahdi Paktinat Hamed Amanpoor Arash Tabrizi Mojtaba Kimiai Fereshteh Hamed Parnian Tabatabai Nooshin Noroozzadeh Nazanin Tafazoli Sahar Rezvani Sahra Ramezanian
The Play The play is based on The lady from the sea by Henrik Ibsen and there was a look to the archetypes and the book Women who run with the wolves by Clarissa Pinkola Estes. Events happen in a seafood restaurant beside the sea. The restaurateur's wife is an abstracted lady who hears continually the roaring sound of sea waves. She has forgotten her past and thinks to be a mermaid who has to return the heart of sea waves. Some time ago, her son died mysteriously after the birth and everybody supposes her actual mood is caused by the depression of her son's death.
The Group Shamayel Theater Company is founded in 2003 in Mashhad and has begun producing theater and initiating theater festivals. Most of its graduate students have added to their scientific and practical titles by continuing their academic studies at the university and then to work as professional directors, actors and actresses in the country.
Now a stranger comes to the restaurant. He is a huntsman who has escaped the last night's sea storm and asks Lady to come with him to the depth of the sea. By the huntsman's words, immersed in illusory, Lady believes that before she was living in the sea and has been caught in her husband's creel with other fishes. But this is not the whole reality.
Since 2003 most of its theatrical productions took part in theater festivals in and out of country. One of the important activities initiated by the academy is the play reading festival for the first time in the country that has seen eight versions till today. Actually Shamayel Theater academy goes for producing plays, educating new artist and translation and publication of new books about art and theater…
Director's Note Lady is a part of any human's body, a human whose mind is attacked by a storm of colors and is full of violence and beauties but would be empty of commotion if it sinks to the vast sea of being a human without any fear. Now he can decide… or he leaves or he returns… ship's whistle sound is heard...
The Playwright Raoof Dashti, born in 1984, licensed in Painting at Arts University of Tehran, member of playwrights club in Iran Theater House. Some of his plays are I am Iradj, Fereydoon's son, or tree blood drops on the snow, Humidity, Full of leaves, full of birds, A little house which is not very old and Man's rest to the wall.
Kathmandu International Theatre Festival 2012
54
23 November to 7 December
23 November to 7 December
55
Kathmandu International Theatre Festival 2012
ckm km/ ;d 8]h
December 5 12 noon & 4:30 p.m.
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Mandala Theatre Hall
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Best of Kolkata Campus, India
Museum of Million Hamlets: A Solo of Many Voices The Play First Story: We passed it once, in a bit of a hurry: that path that led to the cemetery. I was Oedipus, you were Antigone. I was blind and you were too young. “There is a breeze blowing a used tire at the edge of the road. Over there, a low brick wall," you said, as usual serving as my eyes. I smell moss, my child. I smell the rotten scent of death.
;g\ !(*$ df hGd]sf /fpkm bf:tL gf6ssf/x¿sf] Snj O/fg lyP6/ xfp;sf ;b:o x'g\ . pgn] x\o'ldl8l6, kmn ckm lnAh, kmn ckm j8{\h cflb h:tf gf6sx¿ n]v]sf 5g\ .
“There is nothing worth describing: a mossy wall, an empty house. Rice fields in the distance. You have seen it all, Father, before the pin struck your eye. Is this the place of the promise? Where are we going to live?"
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No.We have passed it once before. I don't know when.You were Oedipus, I was Antigone. I asked who hung the tire swing there in the rosewood tree. And the moss. Why is it so loyal? Clinging to the wall beside us.
;g\ !(&% df hGd]sf zob xf]b\hft tfjftfjfO{ cf6fs l:yt cfhfb ljZjljBfnosf nfO;]G; k|fKt gf6\o cleg]tf / lgb]{zs x'g\ . pgn] b sfOG8 6f]g, ljo/, 8]y cfkm lb ;]N;Dofg h:tf gf6sx¿sf] lgb]{zg u/]sf 5g\ .
I remember that we exchanged bodies. In this very same path. Second Story: “This is a haunted path, Older Brother. No one dares to pass it."
;d"x Zfdfon lyP6/ sDkgLsf] :yfkgf ;g\ @))# df df;fbdf ePsf] lyof] . Tolta]nf b]lv g} o;sf ;a}h;f] gf6sx¿ b]zleq tyf ljb]zsf gf6s dxf]T;jx¿df efu lnPsf 5g\ . zdfon lyP6/ sDkgLn] b]zdf klxn] k6s gf6s jfrg dxf]T;j z'¿ u¥of] h;n] clxn];Dd cf7f}+ ;+:s/0f k'/f ul/;s]sf] 5 .
If that is so, then we are near, Younger Sister. The oracle is never wrong in giving directions. I smell the rain that has recently passed. It has soaked into the brick walls; penetrated in between the clay tiles. I hear Ismene laughing, swinging on the rubber tire. Her laugh sprinkles like rain splashing in our house. Oedipus and Antigone hug on the nameless path. A pathway that has long been left behind by the travelers. Third Story: I ran once.Very far. I left my father's death and the beauty of my mother's body. Then, on a damp path, I killed a traveler. A low wall recorded and saved it beneath its moss that is older than sadness. It's quiet. Only the wind blowing the swing. Swinging Jocasta's shadow in a daydream.Then, we made love in an empty house. Before it got dark, before it was completely dark, I saved the sparkle of her tears.
Kathmandu International Theatre Festival 2012
56
23 November to 7 December
23 November to 7 December
57
Kathmandu International Theatre Festival 2012
“Why are your legs swollen like an elephant's?"
21st century.
I was quiet, remembering the grassy field. Someone grabbed my feet.
The visual references of Japanese society become signifiers of the Japanese condition. For example, fashionable high school girls transform their identity and bleach their black hair to a golden blonde shade. The incidence of young people becoming homeless is on the rise. Meanwhile healing seminars and cults are in fashion. What do these things mean? What is the family now? Such questions motivated Kawamura in writing HAMLET CLONE. How can we play Hamlet in Tokyo today?
Ever since then, I called myseL“ Oedipus. Fourth Story: Father just laughed, letting me run the length of that path. The giant machines arrived. Chewing up our rice fields into bits. We watched every evening. The machines destroyed the dikes where we ran all day chasing kites.We laughed watching them. Now, quietly, behind me, father cried. I didn't know why he cried. Then, one evening, he banished me. I was fifteen years old then. “You will kill your father and marry your mother. So, go!", he said. The only thing I could do was cry. I left taking a path, a bamboo house, a brick wall, a rosewood tree, and a swing—that my father made from a used car tire. Fifth Story: A path. Surely someone has passed this way. A house. Someone surely has lived there. A mossy wall. A rosewood tree. A swing swaying slowly. Someone just got of“ of it. I don't know who.
Are we industrially producing newer clones of Hamlet...who is programmed not to react...or are we walking across the neon-lit superhighways of digital desire not knowing the Hamlet pathway is strewn with landmines.
Director's Note The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act. Marcel Duchamp The production looks at the myth of what is a ruling class. Who rules and who is being ruled. Ashok Rudra writes in his booklet “Intelligentsia and Ruling Class" a very important set of lines: The State is never neutral between the different classes in the Society. The state necessarily serves the interest of a certain class (or classes) at the cost of the rest. It is this class (or clases) which are called Ruling Class or Ruling Classes and the same classes are used to characterise the state when talking about its class character. It is the idea of the social cost as opposed to the globalised idea of opportunity cost which is explored through a series of actions that transports Kawamura's classic to a Indian context. T-factory material on Hamletclone says: HAMLET CLONE is based on William Shakespeare's HAMLET and inspired by Heiner Muller's classic play HAMLET MACHINE. As HAMLET MACHINE considers East Germany society in 1977 in relation to a HAMLET, Kawamura reconsiders these questions from the perspective of contemporary Japan. War, keeping-fit-madness, genetic engineering and unemployment – are these the signs of our time? “Hamlet Clone 2003" is based on Shakespeare's “Hamlet" and inspired by the methods used in Heiner Müller´s “Hamletmaschine". The performance written by Takeshi Kawamura reflects on the situation of Japan and today's society under the conditions of a constantly growing globalisation process at the beginning of the
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And as Maryanto writes in Five Stories from a Hamlet Pathway: This path has witnessed many stories. It's just an ordinary path. On the right, there is a house with bamboo walls. Empty. There was a low brick wall covered in moss in front of it. To the side, there was a rosewood tree. A swing made from a used tire hung from the branches, swinging in the wind. In the distance, there were rice fields. Not revealing anything. Just lying there, open to the sunset.
Where do these fragments lead to?
Kathmandu International Theatre Festival 2012
Our concerns are similar yet radically different: Malegaon, Halol, Imphal, Kohima, Majuli, Itanagar, the young chakma refugee kid-whose hands were chopped of“ in the camp, a Reang mother struggling to define what is home....we take these monologues in our body and perform... we change nothing,.. not even ourselves but as their monologue hits the tongue, I know how shitty, fundamentally theoretical perverts we are... we coined subaltern to suit our academic needs to frame resistance…forgetting the need for a far more humane framework and far enhanced and humane pedagogy to study the same...
23 November to 7 December
The Director An independent curator, media analyst and a performance consultant by profession, Parnab Mukherjee is one of the leading alternative theatre directors' of India. As a journalist and a theatre director,he has extensively covered issues concerning rights and issues of displacement. Currently, a roving editor with two publication initiatives, he has earlier worked for a sports fortnightly, an English daily and a Bengali daily. He is an acclaimed authority on Badal Sircar's theatre, Shakespeare-in-education and specialises in theatre-forconflict-resolution and theatre-of-the-campus. He is considered as a leading light in alternative theatre in the country having directed more than 150 full-length/workshop productions. These include full-length plays, workshop performances, theatre interventions, non-verbal texts, invisible theatre, promenade theatre, structured work-in-progress, sitespecific theatre and installation-based performances. He is the artistic director of Best of Kolkata Campusan autonomous performance collective and a performance foundry, that has completed 20 years of doing dedicated theatre in found spaces and public arena. He has created a personal idiom of using spaces for theatre exploration. He has extensively worked on a range of human rights issues, which include specific theatre projects on anti-uranium project struggles in Jadugoda and Turamdihi, Save Tenzin campaign, rehabilitation after industrial shutdowns, shelter issue of the de-notified tribes, a widely acclaimed cycle of plays against genocide, and a range of issues on northeast especially with different issues pertaining to Armed Forces Special Powers Act, 1958. Some of the most memorable productions of the collective include Where is Imphal? (For Birla Academy of Art and Culture), Trilogy of Unrest (Hamletmachine, Necropolis, This room is not my room), 23 November to 7 December
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Kathmandu International Theatre Festival 2012
River Series (used as a exploratory advocacy tool by Unifem, Undoc and Kripa Foundation), Only Curfew, Rehearsing Antigone, Raktakarabi-an urban sound opera, Buddha Files, Kasper-dipped and shredded, They Also Work, Dead-Talk series, Conversations with the dead, Crisis of Civilisation, Shakespeare shorts, Man to Man talk, Inviting Ibsen for a Dinner with Ibsen, Your path wrong path and And the Dead Tree Gives no Shelter. Four of his major workshop modules: Freedomspeak, The Otherness of the Body, Conflict as a Text and The Elastic Body have been conducted with major theatre groups and campuses all over the country. He has written four books of performance texts. He curates a series called Talk Gandhi and the Festival of Here and Now. He has performed widely including Colombo, East Timor, Copenhagen, England, United States, Estonia, Thailand, Nepal, Singapore, Bangladesh, Paris and Kathmandu.
Cast and Credits Inspired from Takeshi Kawamura and Gunawan Maryanto Additional text: Albert Camus, WoL“ Erlbruch and Daniil Kharms Installation: Gautam Bajoria and Baishampayan Saha Performed by Best of Kolkata Campus Designed and directed by Parnab Mukherjee
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t];|f] syf M Ps k6s d bf}8], w]/} 6f9f ;Dd . Affafsf] d[To' / cfdfsf] ;'Gb/ z/L/ 5f]8]/ . / af6f]df Pp6f ofq'nfO{ df/] Toxf“ emf/n] 5f]k]sf] Pp6f kvf{n lyof]– lk8f eGbf k'/fgf] . ;'g;fg 5 . xfjfn] lkª\ xNnfPsf] 5 – lbjf ;kgfdf of]sf:6fsf] 5f“of xlNnPsf] 5 . clg Pp6f l/Qf] 3/df xfdLn] cª\ufnf]df k|]d u¥of}+ . a];/L cWof/f] x'g' cl3 d}n] pgsf cf“;' /f]lslbP“ . ltd|f v'§f lsg xflQsf] h:t} km's]sf] 5 < d r'krfk lyP“, :d[ltdf 3f“;] d}bfg lyof] . s;}n] d]/f] v'§f ;dfof] . To;kl5 d}n] cfkm'nfO{ cl8k; eGb} cfPsf] 5' . rf}yf] syf M dnfO{ cufl8 ;Dd bf}8g lbP/ afaf xf“:g' dfq eof] . /fIf; h:tf d]l;g cfP / xfd|f v]tx? vQd u/] xfldn] k|To]s ;f“em x]b}{ uof}+ . pgLx?n] xfdL lbge/ lx8\g] / v]Ng] 7f“px? klg vQd u/]“ pgLx?nfO{ x]b}{ xfdL xf“:of} . d]/f] k5f8L r'krfk a;]/ d]/f] afaf ¿g'eof] . d}n] a'‰g ;lsg pxf“ lsg ¿g'eof] . kl5 Ps ;f“em pxf“n] dnfO{ b]z lgsfnf ug'{eof] . Tolta]nf d !% aif{sf] dfq lyP“ . t}n] cfkm\gf] afa'nfO{ df5{; / cfdf ;Fu lax] u5{;\– To;}n] u}xfn . d}n] ?g' afx]s s]lx ug{ ;lsg . d af“;n] ag]sf] 3/, O§fsf] kvf{n, zL/fdsf] ¿v / k'/fgf] 6fo/ /fv]/ d]/f] nflu agfO{lbg' ePsf] lkª\ kf/ ub}{ d cuf8L uP“ . kfFrf} syf M Pp6f af6f] . sf]lx g sf]xL kSs} lx8]sf] lyof] . Pp6f 3/ . s'g} a]nf sf]xL g sf]xL kSs} a;]sf] lyof] . emf/n] 9fs]sf] Pp6f kvf{n zL/fgsf] Pp6f ?v . xNLn/x]sf] Pp6f lkª sf]lx Tof] lkª\ af6 ev{/ em/]sf] 5 . d lrlGbg p;nfO{ . sxf“ n}hfG5g oL :d[ltsf v08x?n]< s] xfdLn] AofS6«L af6 x\ofdn]6sf gof“ k|lt¿k pTkfbg ub}{5f} < Tof] x\ofdn]6 h;nfO{ k|ltlqmofdf glbg] sdf08 lbOPsf] 5 . xfdL lsg lgof]g nfO{6n] pHofnf l8lh6n rfxfgfsf ;'k/ xfOj]df lx8\b} 5f}+ < af?lb ad la5\ofOPsf x\ofdn]6 dfu{sf] af/]df clgldh eP/ .
Kathmandu International Theatre Festival 2012
60
23 November to 7 December
23 November to 7 December
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Kathmandu International Theatre Festival 2012
December 6 4:30 p.m. Nepal Academy Hall, Kamaladi
Epic Actors Workshop and Bond Street Theatre, USA
Bhopal The Play
In 2009, Bond Street Theatre brought its collaborative play, Beyond the Mirror, a visual-physical depiction of 30 years of Afghan wars, created with Afghan Exile Theatre, to the South Asian Theatre Festival. The play was the first US-Afghan theatre collaboration in history. Both groups were impressed by the professional level of the Festival and its well-curated selection of Asian theatre, including the Epic Actor's own production of the “Little Clay Cart." So when this fine Indian-American company suggested that our two companies collaborate on a piece, we jumped at the opportunity. Epic Actor's colorful, stylized, dramatic work would complement our own visual-physical approach to theatre. And we have thoroughly enjoyed our new partnership. Rahul Varma's “Bhopal" is a timely piece. Its subject matter is passionately important and the characters, in fact, tell the true story of the Bhopal disaster directly and without reserve. Having witnessed the devastation and physical impact of armed conflict, I am incensed and moved by the silent and equally deadly impact of negligence. Both disrespect our humanity and the values we say we hold dear. The play reveals the “not in my backyard" mentality of those who are well-protected by wealth, power, and position.
Devraj, an Indian businessman trained at the knee of Anderson, the American CEO of Karbide International, returns to his native country to head Karbide's Bhopal plant.A man of missionary zeal, he comes armed with a purpose: to introduce India to the miraculous properties of Karbide Thunder, the latest chemical weapon in the arsenal against pests. He will feed his starving nation, while sharing with its poor the benefits of Western-style industrial development.
I hope that “Bhopal" is a reminder that we must be ever vigilant to those that tell us “hydraulic fracking for oil is completely safe," or “this plant has passed the most stringent tests", or “global warming is not a big issue." Who stands to benefit by these statements and who would lose? Bhopal isn't a moral tale, it is about facts – brought to life through the powerful voice of theatre.
Sonya Labonté, a Canadian doctor, is suspicious. People near the plant are getting sick. Babies are being born with horrible abnormalities.With the patience of a Sherlock Holmes, she gathers evidence and mounts her case.The final piece of evidence? A young baby named Zarina. The play Bhopal tells the story of how complex forces struggled to bury the truth, expose it, or shape it to the needs of seL“-interest, and how an unspeakable disaster ended all speculation. Ultimately, though, it is about—and for—those without means or influence, whose voices are seldom heard and yet who are made to pay the cost. On the night of December 3, 1984, Union Carbide's pesticide plant in Bhopal, India, exploded, enguL“ing the city in a billow of deadly poisonous fumes. Small children fell like flies, men and women vainly scurried for safety like wounded animals, only to collapse, breathless and blinded by the gas. By morning, the death toll was over 500, by sunset, 2,500. By the following day, numbers had no meaning. That night, Bhopal became the largest peacetime gas chamber in history. The play reveals the human stories within the complex political and economic web that located a chemical plant in Bhopal and leads to human tragedy. It is a taut political drama based on the events leading up to one of the worst industrial catastrophes in history.
Director's Note The Union Carbide plant in Bhopal exploded in 1984, nearly 30 years ago. Far from the end of corporate disasters, this was one of many to follow: the Chernobyl nuclear disaster in Russia in 1986, BP's Deepwater oil rig explosion in the GuL“ of Mexico in 2010, and the Daiishi nuclear plant in Fukushima last year. We are compelled to wonder where next? And who will bear the brunt of negligence in the face of profit next? Kathmandu International Theatre Festival 2012
Bond Street Theatre has spent the last 15 years dealing with issues of conflict: wars on many fronts, interethnic violence, poverty, and the inequity that conflict sustains.
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23 November to 7 December
The Playwright Rahul Varma is a playwright, artistic director, essayist and an activist who migrated to Canada from his birth country India in 1976. In 1981, he co-founded Teesri Duniya Theatre, which is dedicated to producing socially and politically relevant theatre examining issues of cultural representation and diversity in Canada. Rahul became the company's artistic director in 1986. Writing in both Hindi and English, his full-length plays include With Land Where the Trees Talk, No Man's Land, Trading Injuries (radio drama), Counter Of“ence, Bhopal and Truth and Treason. His latest play, Unusual Battleground, is about genocide and atrocity crimes relating to Rwanda and Armenia.
The Director Joanna Sherman, Artistic Director of Bond Street Theatre, co-founded the company in 1976. As director, choreographer, musician and actor, she has initiated and participated in the company's artistic projects in South Asia, Eastern and Western Europe, South America, the Middle East, China, Pakistan and Afghanistan. Ms. Sherman has directed, lectured and taught internationally. Most recently, she directed Beyond the Mirror, a historical view of the conflict in Afghanistan created in collaboration with Exile Theatre of Kabul that toured in Afghanistan, Japan and the US. She also conducted a 3-year theatre-based conflict resolution project in India as part of the US Department of State's educational and arts initiative. Ms. Sherman has been featured on CNN, BBC,Voice of America, Radio Free Europe, National Public Radio, and international TV and news media, and published in American Theatre magazine.
23 November to 7 December
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Kathmandu International Theatre Festival 2012
Cast and Credits Anna Zastrow Gargi Mukherjee Soumendu Bhattarchaya Sajal Mukherjee Shailendra Khurana Arpana Bhattarchaya Michael McGuigan Video and Audio design: Set Design: Costume Design: Playwright: Directed by
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Dr. Sonya Labonte Izzat Bai Mr. Devraj Sarthi Minister Jaganlal Bhandari Pascale Sauve Ms. Madiha Akram Warren Anderson Michael McGuigan TBA TBA Rahul Varma Joanna Sherman
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The Group Bond Street Theatre creates entertaining and relevant performances that exemplify theatre's ability to cross cultural borders and address the social and environmental issues that affect us all, globally. The company works primarily in post-war areas and regions in conflict, collaborating with local artists to create informational theatre that addresses relevant issues. Current project areas include Afghanistan, Myanmar and Haiti. Bond Street Theatre has produced three original shows in the last five years in New York City that utilize their unique physical theatre skills to tell compelling and relevant stories to a national and international audience. Epic Actors Workshop, founded in 1988, showcases and underscores the importance of South Asian Theater within the New Jersey and New York communities and in the larger context of mainstream American culture. Epic Actors Workshop has presented the South Asian Theatre Festival since 2006, with the mission to connect the diverse cultural entities breaking through geographical and cultural boundaries and at the same time celebrating the differences.
Address and Contact Dipan Ray, Producing Director - Epic Actors' Workshop 5 Sojourner Way, Old Bridge, NJ 08857 732-561-3080hm Cell phone: 917-531-0184 info@epicactorsworkshop.com
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Sofg]8fnL 8fS6/ ;f]Gof n]af]Gt]nfO{ rf“lx o;df z+sf lyof] . pTkfbg :yn glhssf dflg;x¿ lj/fdL kb}{ uO/x]sf lyP . gjhft lzz'x¿df zfl//Ls Pj+ dfgl;s ljsnfª\utf b]lvg yfNof] . lt 8fS6/n] a8f] w}o{sf ;fy k|df0f h'6fOg / of] d'2f p7fOg\ . Tof] clGtd k|df0f s] lyof]< hfl/gf gfdsf] Ps lzz' . ef]kfn gf6sn] ;To n'sfpg jf To;nfO{ aflx/ Nofpg jf cfkm\gf] cg's'n agfpg ljleGg zlQmx¿aLr s:tf] ;ª\3if{ rNof] / s;/L Pp6f sxfnLnfUbf] b'3{6gfn] lt ;a} cf“sngx¿sf] lj;{hg ul/lbof] eGg] syf atfp“5 . vf;df of] gf6s lt dflg;x¿sf] syf xf] hf];“u s'g} ;fwg / k|efj x'“b}g, h;sf] cfjfh st} ;'lgbF}g t/ klg lt 7"nf] d"No r'sfpg afWo kfl/G5g\ .
lgb]{zsLo o'lgog sfjf{O8sf] ef]kfnl:yt KnfG6 em08} #) jif{ cl3 !(*$ df lj:kmf]6 eof] . of] cf}wf]lus ljkQL To;kl5 cfpg] >[v+nfx¿sf] z'¿jft lyof] . To;kl5 !(*^sf] ¿;sf] rg]f{ljn cf0fljs lj:kmf]6g, @)!) sf] d]lS;sf]sf] vf8L ePsf] t]nvfgLsf] lj:kmf]6g, / ut jif{sf] hfkfgsf] km's'l;dfsf] bfO;L cf0fljs e§Lsf] lj:kmf]6gx¿ eP . ca o;kl5 s:tf] qf;bL Joxf]g'{ kg]{ xf] eGg] eo 5 . / gfkmf sdfpg] gfddf x'g] nfkfj{fxLsf] c;/ s;n] Joxf]g'{ kg]{ xf] eGg] lrGtf 5 . /fx'n jdf{sf] ef]kfn Pp6f ;fdlos gf6s xf] . o;sf] ljifoj:t' Psbd} dxTjk"0f{ 5 / o;sf kfqx¿n] ef]kfndf ePsf] ljkQLsf af/]df ;f]emf] / ;To syf jtfPsf 5g\ . ;z:q åGbsf] ef}lts c;/sf] k|ToIfbzL{sf] ¿kdf d nfkjf{xLsf] ghflgFbf] t/ b'ikl/0ffdn] dnfO{ ddf{xft agfPsf] 5 . lt 36gfn] xfdLn] dxTjk"0f{ dfg]sf d"No / dfgjtfsf] cgfb/ ub{5g\ . of] gf6sn] ;DktL / zlQmsf] ;+/If0f kfP/ d]/f] cf“ugdf ePsf] t xf]Og elg a:g] dfgl;stfnfO{ phfu/ u/]sf] 5 .
Joanna Sherman, Artistic Director – Bond Street Theatre 2 Bond Street, New York City NY 10012 (212) 254-4614 info@bondst.org
Kathmandu International Theatre Festival 2012
sfjf{O8 OG6/g]zgnsf] cd]l/sL sfo{sf/L k|d'v P08;{gsf] 5q5f“ofdf k|lzlIft ePsf] Ps ef/tLo Jofkf/L b]j/fh ef]kfndf /x]sf] sfjf{{O8sf] pTkfbgs]Gb|sf] k|d'v eP/ :jb]z kms{G5 . ls6gfzs /;fogsf] pTkfbgaf6 p;n] b]znfO{ sfjf{O8sf]] ltn:dL u'0fx¿sf] kl/ro lbg rfxfGYof] . klZrdL z}nLsf] cf}wf]lus ljsf;sf] cg'ej k|of]u u/]/ b]znfO{ ef]saf6 hf]ufpg rfxfGYof] .
dnfO{ cfzf 5 ef]kfn vt/fd'Qm eg]/ ul/g] cf}wf]lus gf/fx¿af/] ;bf rgfvf] /xgnfO{ ;"rs xf] . To:tf nf]slk|o cf}wf]lus gf/fx¿af6 s;n] kmfObf lnG5g\ / s;n] Iflt Joxf]g'{k5{ < ef]kfn lzIffk|b syf xf]Og, 23 November to 7 December
23 November to 7 December
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Kathmandu International Theatre Festival 2012
jf:tljstf xf] h;nfO{ /ª\ud~rsf] zlQmzfnL cfjfhåf/f hLjGt agfOPsf] 5 . December 7
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12 noon & 4:30 p.m. Mandala Theatre Hall
/fx'n jdf{ gf6ssf/, snf lgb]{zs, lgaGwsf/ / clwsf/sdL{ x'g\ hf] cfkm\gf] hGd:yfg ef/taf6 !(&^ df Sofg8f a;fO{+ ;/] . To;kl5 !(*! df pgn] lt;/L b'lgof“ /ª\ud~rsf] ;x:yfkgf u/] hf] Sofg8fdf /fhg}lts Pj+ ;fdflhs ¿kdf ;fGble{s gf6sx¿ pTkfbgdf ;lqmo /x\of] . /fx'n !(*^ df To; sDkgLsf snf lgb]{zs ag] . lxGbL / cª\u|]hL b'j} efiffdf n]Vg] pgsf k"0ff{ª\sL gf6sx¿df ljb Nof08 xf]P/ b l6«h 6s, gf] d]G; Nof08, 6]«l8ª OGh'l/h -/]l8of] gf6s_, sfpG6/ ckm]G;, ef]kfn / 6«'y P08 6«]hg k5{g\ . pgsf] kl5Nnf] gf6s cgo'hn Aof6nu|fp08 ¿jfG8f / c/d]lgofsf g/;+xf/ / cft+ssf af/]sf n]lvPsf] 5 .
lgb]{zs af]G8 l:6«6 lyP6/sf snf lgb]{zs hf]cgf ;/Dofgn] To; lyP6/ sDkgLsf] ;x:yfkgf !(&^ df u/]sL lyOg\ . lgb]{zs, sf]l/of]u|fkm/, ;“uLtsf/ / snfsf/sf] ¿kdf pgn] blIf0f Pl;of, k"jL{ / klZrdL o'/f]k, blIf0f cd]l/sf, dWok"j{, rLg, kfls:tfg / ckmuflg:tfgdf cfkm\gf] gf6\o ;+:yfsf] snf kl/of]hgfdf ;+nUg eO;s]sL l5g\ . ;/Dofgn] cGt/fli6«o¿kdf lgb]{zg, k|fWofkg / ljz]if dGtJo lbO;s]sL 5g\ . kl5Nnf]k6s pgn] ckmuflg:tfgsf] åGbsf] af/]df sfj'nsf] PShfOn lyP6/;“usf] ;xsfo{df tof/ kfl/Psf] gf6s ljof]G8 b ld// sf] lgb]{zg ul/g\ h;sf] ckmuflg:tfg, hfkfg, / cd]l/sfdf k|bz{g ul/of] . pgn] cd]l/sL l8kf6{d]G6 ckm :6]6\;sf] z}lIfs Pj+ snf;DalGw kl/of]hgf cGtu{t ef/tdf /ª\ud~rdf cfwfl/t # jif]{ åGb ;dfwfg ;DalGw kl/of]hgf ;~rfng ul/g\ . lgb]{zs ;/DofgnfO{ l;PgPg, lalal;, EjfO; ckm cd]l/sf, /l8of] lk|m o'/f]k, g]zgn klAns /]l8of] / cGo cGt/fli6«o l6le / /]l8of]x¿n] :yfg lbO;s]sf 5g\ eg] cd]l/sL /ª\ud~r ;DaGwL klqsfx¿df k|sflzt eO;s]sL 5g\ .
;d"x af]G8 l:6«6 lyP6/ dgf]/Ghgk"0f{ Pj+ cGo ;fGble{s gf6sx¿ pTkfbg u5{ h;n] /ª\ud~rsf] ;f“:s[lts l;dfx¿af6 k/ hfg ;Sg] / ljZjJofkL¿kdf xfdL ;a}nfO{ c;/ k'¥ofpg] ;fdflhs Pj+ kof{j/0fLo ljifox¿nfO{ ;Daf]wg ug{ ;Sg] IfdtfnfO{ phfu/ ub{5 . of] gf6s sDkgLn] vf;u/L åGb/t If]qx¿df :yfgLo snfsf/ x¿;“usf] ;fem]bf/Ldf ;fGble{s ljifox¿df ;"rgfd"ns gf6sx¿ ub{5 . xfn o;n] ckmuflg:tfg, Dofgdf/ / xfo6Ldf sfd ul//x]sf] 5 . af]G8 lyP6/n] UfPsf] kf“r jif{df Go'of]s{df tLga6f df}lns gf6sx¿ pTkfbg u¥of] h;n] /fli6«o / cGt/fli6«o bz{sx¿nfO{ k|efjsf/L / ;fGble{s syf eGg cfkm\gf ljlzi6 /ª\ud~rLo ;Lkx¿sf] k|of]u u¥of] . Plks PS6;{ js{zksf] :yfkgf !(** eof] h;n] Go'h;L{ / Go'of]s{sf ;d'bfox¿ / j[xQ/ ¿kdf d"nwf/sf] cd]l/sL ;“:s[ltdf blIf0f Pl;ofnL /ª\ud~rsf] dxTj / pkfb]otfnfO{ :yflkt ug{ nflu k/]sf] 5 . Plks PS6;{ js{zkn] ;g\ @))^ b]lv blIf0f Pl;ofnL gf6s dxf]T;jsf] cfof]hgf ul//x]sf] 5 h;n] ljleGg ef}uf]lns Pj+ ;f“:s[lts l;dfaf6 5'l§Psf ;f“:s[lts PsfOx¿nfO{ hf]8\g] / ;uF;“u} ljleGgtfnfO{ pT;j agfpg] pb]Zo /fv]sf] 5 . Kathmandu International Theatre Festival 2012
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23 November to 7 December
Mandala Theatre, Nepal
Sunkeshari The Play Sunkeshari is a play based upon an oftensaid folk story in Karnali, the western mountainous region of Nepal. The play has been woven out of the complex experience of a beautiful girl with golden hair due to her celebrated beauty and voice. Sunkeshari, a well known singer of Maaghal (a typical Nepali folk song) is widely admired for her vocal quality and attractive figure with golden hair. Having so many suitors for marriage, Sunkeshari is the most wanted girl around and beyond the nation. Prajapati, the cousin brother of Sunkeshari loves her very much and wants to marry her. He is the person who holds the authority to marry Sunkeshari according to their culture. But Sunkeshari doesn't like his attitude.There are two others who want to marry Sunkeshari. Vikram Shahi, king of Chhinasingh and Saaimal Shahi, king of Raaskot are also cousin brothers but both of them wish to marry with Sunkeshari. Sunkeshari leaves home choosing one of the kings. Two separate journeys start from here. One of Sunkeshari's who faces different situations created by her own beautiness and other of Prajapati's who determinedly goes to take back Sunkeshari home. The meeting point of these journeys creates the climax of the play.
The Playwright Satyamohan Joshi is a renowned name and one of the most respected culture experts in Nepal. His writings on Nepali culture have always helped it to be flourished and conserved. As a playwright too, Mr. Joshi has an influential signature in Nepali theatre. Some of his plays are already performed and appreciated in Nepal. He usually discovers the folk traditions, its effects upon a particular person and society and weaves them in a narrative way while writing plays. He is regarded as the foundation of Nepali cultural studies.
The Director Rajan Khatiwada is a devoted theatre artist of running generation in Nepal. Actively involved in Nepali theatre for fifteen years, Mr. Khatiwada has received formal training of theatre and dance from Gurukul: School of Theatre and Denmark. Besides 23 November to 7 December
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Kathmandu International Theatre Festival 2012
direction, acting and scenography are his working scopes in theatre. He has got a six month long training on scenography from Denmark. He is Creative Director at Mandala Theatre Nepal.
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Cast and Credits
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On Stage
;'gs]z/L g]kfnsf] klZrdL kj{tLo If]qdf kg]{ s0ff{nLdf k|rngdf /x]sf] bGTosyfdf cfwfl/t gf6s xf] . Pp6L ;'gf}nf] s]z ePsL ;'Gb/L o'jtLn] pgsf] ;'Gb/tf / cfjfhsf] sf/0f ef]Ug'k/]sf] hl6n cg'ejaf6 gf6ssf] syf a'lgPsf] 5 . dfun elgg] Ps k|sf/sf] g]kfnL nf]suLtsL k|Voft uflosf ;'gs]z/L pgsf] cfjfhsf] ;'l/nf]kg / ;'gf}nf] s]z ;lxtsf] cfsif{s zl//sf nflu k|z+l;t l5g\ . ;'gs]z/L b]zleq / aflx/ klg ljjfxsf nflu ;a}eGbf al9 ¿rfOPsL s]6L x'g\ . ;'gs]z/LsL km"k'sf] 5f]/f k|hfklt pgnfO{ dfof u5{ / ljjfx ug{ rfxfG5 . pgLx¿sf] ;“:s[lt cg';f/ k|hfkltsf] ;'gs]z/L dfly xs nfU5 . t/ ;'gs]z/LnfO{ p;sf] Tof] s'/f dg kb}{g . cGo km"k"sf b"O{ 5f]/fx¿ klg ;'gs]z/L;“u ljjfx ug{ rfxfG5g\ . ltlgx¿dWo] Ps;“u ;'gs]z/Ln] ljjfx ul5{g\ . oxf“af6 b'O{ k[ys ofqfx¿ ;'¿ x'G5g\ . Pp6f rf“xL cfkm\g} ;'Gb/tfn] lgDTofPsf] ljleGg kl/l:yltx¿sf] ;fdgf ug{ ;'gs]z/Lsf] ofqf, / csf]{ ofqf rf“xL k|hfkltsf] h;n] s'g} klg xfnt ;'gs]z/LnfO{ 3/ lkmtf{ Nofpg rfxG5 . lo b'O{ ofqfx¿sf] ldng ljGb' g} gf6ssf] r/d ljGb' aG5 .
Sunkeshari Maiya: Prajapati: Vikram Shahi: Saaimal Shahi: Noumati: Laalu: Parwati: Jhampan: Storyteller: Chorus and Soldiers: Off Stage
Srijana Adhikari Umesh Tamang Sulakchhyan Bharati Som Nath Khanal Sarita Giri Bijay Baral Nishma Ghimire Buddhi Tamang Hira Bijuli Nepali Mohammed Najir Husen, Arjun Karki, Pradip Kumar Chaudhary, Shanti Tamang, Namrata KC and Bikash Joshi
Costume: Sets: Props: Light: Sound: Stage Manager: Management: Documentation: Team Leader: Playwright: Design and Direction:
Sarita Giri, Hira Bijuli Nepali Bijay Baral Mohammed Najir Husen, Pradip Kumar Chaudhary Rajan Khatiwada Prabin Khatiwada Sirjana Subba Bijay Baral, Arjun Karki Som Nath Khanal Dayahang Rai Satyamohan Joshi Rajan Khatiwada
;Todf]xg hf]zL g]kfnsf ;j}eGbf Ho]i7 ;“:s[ltljb\ dWo]sf Ps x'g\ . g]kfnL ;“:s[ltdfly pgsf n]vx¿n] o;sf] ;+/If0f tyf k|j{4gdf ;xof]u k'¥ofPsf 5g\ . gf6ssf/sf ¿kdf klg hf]zLsf] g]kfnL gf6\o If]qdf cfkm\g} klxrfg 5 . k|foh;f] pgn] nf]s k/Dk/f Pj+ JolQm tyf ;dfhdf o;sf] c;/x¿sf] cGj]if0f u5{g\ / ltlgx¿nfO{ gf6sx¿ n]Vbf syfTds kf/fdf a'G5g\ .
;d"x d08nf lyP6/ g]kfn o'jf pT;fxL / sl6j2 /ª\usdL{x¿sf] Ps ;d"x xf] h;n] ;g\ @))( df cf}krfl/s ¿kdf :yfkgf x'g'k"j{b]lv g} ljleGg /ª\ud~r ultljlwx¿ cfof]hgf ub}{ cfPsf] 5 . d08nf lyP6/sf] pb]Zo eg]sf] snfsf/x¿nfO{ pgLx¿ ;Lksf] ljsf; ub}{ l;Sg] cj;/ k|bfg ug'{ xf] . g]kfnL /ª\ud~rsf] ljsf;sf nflu lg/Gt/ cGt{lqmof tyf cfbfgk|bfgåf/f gof“ ;f]r tyf ljrf/sf] vf]lh ug'{k5{ eGg] o;sf] ljZjf; 5 .
Mandala Theatre Nepal is a group of young, enthusiastic and dedicated theatre workers that has been organizing theatre activities even from before it was formally established in 2009. Mandala Theatre has produced four proscenium plays: August Strindberg's Miss Julie, Dayahang Rai's Maila Dot Com, Habib Tanvir's Charandas Chor and Curly Hair. Sunkeshari is Mandala's fifth venture in proscenium theatres. Besides proscenium theatres, Mandala has produced and performed a number of street and forum dramas on various social political issues. Mandala had launched its ambitious project Mobile Theatre Tour first time in September 2010 in which it performed its Maila Dot Com, Charandas Chor (The Honest Thief) and Juli Maiya (Miss Julie) in ten major cities of Nepal. Besides creating theatre, Mandala organizes theatre festivals and seminars. It has organized two international youth theatre festivals, so far. International Youth Theatre Conference and Seminar was organized in June 2010 and 2nd Mandala International Youth Theatre Festival was organized in November 2011.
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/fhg vltj8f jt{dfg ;dosf Ps sl6j4 /ª\usdL{ x'g\ . g]kfnL gf6sdf ljut kGw| jif{b]lv ;+nUg vltj8fn] u'¿s'nM :s'n ckm lyP6/ / 8]gdfs{af6 /ª\ud~r / g[Todf cf}krfl/s k|lzIf0f xfl;n u/]sf 5g\ . lgb]{zgsf] cnfjf plg clego / l;gf]u|fkmL klg u5{g\ . pgL d08nf lyP6/ g]kfnsf snf lgb]{zs x'g\ .
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The Group
Kathmandu International Theatre Festival 2012
lgb]{zs
23 November to 7 December
d08nf lyP6/ rf/j6f gf6sx¿ d~rg u/]sf] 5 M cu:6 l:6«08ju{sf] ld; h'nL, bofxfË /fO{sf] dfOnf 86 sd, xlaj tglj/sf] r/gbf; rf]/ / /fhg d'sf¿ª\usf] snL{ x]o/ . ;'gs]z/L d08nfsf] kf“rf} k|of; xf] . o;sf cnfjf d08nfn] ljleGg ;fdflhs /fhg}lts d'2fx¿df y'k|} ;8s tyf srx/L gf6sx¿ d~rg u/]sf] 5 . xfn;Dd d08nfn] b'O{j6f cGt/fli6«o o'jf gf6s dxf]T;jx¿ ;g\ @)!) / @)!! Df cfof]hgf u/]sf] 5 . sf7df8f}“ cgfdgu/l:yt d08nfsf] xndf lg/Gt/ ¿kdf gf6s lqmofsnfkx¿ ;~rfng x'G5g\ .
23 November to 7 December
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Kathmandu International Theatre Festival 2012
Kathmandu International Theatre Festival 2012
Acknowledgements Norwegian Embassy
Festival Committees
Shri Lunkaran Das-Ganga Devi Chaudhary Academy for Art and Literature Nepal Music and Drama Academy
Hospitality Nishansh Pokharel Suraj Bhusal Somnath Khanal Sulakshayan Bharati
Technical Department Rajkumar Pudasaini Sajan Thapa Magar Janaki Chaudhary Pashupati Rai Prabin Khatiwada Pramila Katuwal Buddhi Ram Tamang Umesh Tamang Arjun Karki
Action Aid Mandala Theatre Helping Hands of Mandala
Transportation Maniram Pokharel Nazir Hussain Bikash Joshi Pradeep Chaudhary
Standard Chartered Bank Nepal Ltd. Mega Bank Nepal Ltd. Ujjyalo 90 Network Cable Television Network
Seminar and Publication Jeebesh Rayamajhi Prakash Subedi Bal Bahadur Thapa Keshab Sigdel Gaurav Lamichhane Sweta Gyanu Baniya Sumitra Rayamajhi Sagar Prasai Ruru
Stage Manager Bhola Raj Sapkota Information and Box Office Aruna Karki Rabindra Singh Baniya Samuna K.C. Anil Pokharel Janaki Chaudhary Srijana Adhikari
Dreams and Ideas Everest Insurance Company Ltd. Deja-Vu Smart Cell Tele World Nepali Lok Baja Sangrahalaya
Design Anup Baral Ruru
Decoration Sarita Giri Saraswoti Tharu Aruna Karki Janaki Chaudhary Pashupati Rai Pramila Katuwal Sirjana Subba Nabina Aryal
Sangrila-Books Siddhartha Development Bank Ltd.
Management Basant Bhatta Nisha Sharma Anil Kumar Pokharel Dipesh Bhandari Dayahang Rai Rajan Khatiwada Devi Khatri
Universal Development Bank Ltd. Centre for Awareness promotion (CAP Nepal) Asian Center for Humanities Bentley Amogh Ghimire
Festival Coordinator Jeebesh Rayamajhi
Documentation Sindhu Pokharel Kumar Thami Jyoti Singh Pramila Katuwal Kathmandu International Theatre Festival 2012
B.P. Koirala India Nepal Foundation
Refreshment Anil Kumar Pokharel Kamalmani Nepal
Set Rajan Khatiwada Bipin Karki Bijay Baral Hum B.C. Suraj Yadav
Union House Basanta Thapa
Festival Director Sunil Pokharel
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Friends of Gurukul 23 November to 7 December
23 November to 7 December
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Kathmandu International Theatre Festival 2012
Kathmandu International Theatre Festival 2012
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23 November to 7 December
Published on Nov 23, 2012
Electronic Brochure of Gurukul's Event - Kathmandu International Theatre Festival
