On stage

Ashesh Malla’s rendition of the modern Mahabharata in Sakuni Pasaharu clearly outlines the internal vulnerability within political forces where power, money and prestige have a centripetal pull. Derived from the eponymous epic religious saga and reengineered through Malla’s own perception of Nepali politics, the play tries to justify the cliché: ‘politics is a dirty game’. Other noted plays like Raktabheej and Bhikchyaam Dehi, both written and directed by Ashesh Malla, also revolve around the undying love for power, its abuse and political and policy level corruptions. The locally adopted and stylised version of Akira Kurosawa’s Rashomon perfomed at Mandala Theatre has in fact opened doors for interpretations of all kinds. Although there were no direct political linkages, fleeting gestures, mimicked voices and unabashed accusations characterised Sunil Pokhrel’s blatant strike against power players. Also, the play’s scheduled staging during a time when the entire nation was glued to the news reports related to truth and reconciliation added another dimension for interpretation.

Similarly, the amount of absurdity and madness witnessed in Coma—A political sex, left many audiences scratching their heads. The extreme possibilities of chaos that can evolve in a country lacking a governing constitution was perceived as the subliminal inclinations in Kumar Nagarkoti’s writing. The diversity found in the background and identity of the characters established onstage hinted at parties’ dubious acceleration towards multi-identity federalism. Going beyond the national political turmoil, Coma also comically portrays the darker side of Nepal’s extended neighbour diplomacy. Sometime back, when director Bijya Bishfot staged Ooni Mareka Chhainan, a play based on the true story of a Maoist journalist beaten to death by security forces, the political tint in the content itself had made the presentation prominent. This poignant tale succeeded even in moving a stoic political figure like Mohan Baidya, and even made him shed a few tears, to the amusement of the audiences.

Inspiring elements

Right from the ancient era to the modern day, Nepali theatre and art have captured and expressed the influences of different political setups in society. Legendary playwright Bal Krishna Sama’s Amarsingh and Chunda Nath Bhattarai’s Prithvi Narayan Shah, were noted dramas that reflected the state of affairs back then.

The indispensable attachment of politics to Nepali history has inspired as well as compelled many artists to go after political concerns. The  Rana regime, the periodic rise and fall of the monarchy and political transformations though movements  are some areas that theatre has directly or indirectly touched upon. Moving on, the 10 year Maoist insurgency induced playwrights to pen many tragic tales from all over the country. Banki Pristha, a widely applauded play staged at Sarwanam, showed the aggravation and pathos of ordinary citizens trapped in between the wars of two opposing forces.

Meanwhile, when we try to correlate politics with theatrical works, we must not overlook the significance of street dramas. Realising the need for awareness among the rural population in remote areas of the country, street presentations effectively conveyed a message of transformation and revolution. Yugin Gantabya, Hami Basanta Khojirahechhau and Prashna ra Prashnaharu were renowned street plays which consistently highlighted dissatisfaction towards the ruling regime and the citizens’ dormant desire for radical change.

Another reason why theatre artists seek out politics is to vent their frustration towards political parties. For instance, Gaijatra, a weeklong celebration of humorous acts has been popular among the general audience from the start. Precisely through comical and satirical punch lines, these theatrical works try to uncover the inefficiencies, hidden personal agendas and authority abuse present in politics.  

Consequences and challenges

Being a vibrant form of art, the imprint of theatre performances is often deep. To expose the dark and revolutionary aspect of politics is both courageous and sensible. However, when looking into it from the art’s perspective, excessive inclination towards politics might make the exercise irrelevant, going by the dynamically evolving preferences of the audience. Too much overt explanations and expressions of politics in theatres can dilute artistic freedom and the mystical power of storytelling. Scratching old wounds or portraying the neverending power-sharing debacle might not be the expectation of present day audiences, especially when theatre performances are being looked upon as a close substitute for celluloid entertainment. Hence, theatre artists need to understand the theory of diminishing returns before bombarding audiences with direct political presentations in theatres. Sunil Pokhrel’s Rashomon can be taken as a fine example where the director succeeded in maintaining the artistic aspect, along with embedding subliminal political content in the play.

On the other hand, the exponential growth of theatre can attract direct intervention from various political forces. The ability of theatres to transmit messages in a loud and clear manner can lure political parties to use theatrical works as a propaganda and communication tool. This could give birth to proscenium dramas based on manifestos rather than scripts. Therefore, to protect theatres from politics and to present politics through theatre can be equally challenging for theatre artists in the future.

Paudel is a theatre artist at Sarwanam Theatre and an MBA student at Ace Institute of Management