Recently, I was doing an online research on different types of theatre. I was surprised when AsheshMalla and his theatre group Sarvanam were mentioned in the modern Street Theatre movement in the world category; and that of Sunil Pokahrel and Aarohan-Gurukul Theatre Group in the development of Proscenium Theatre in Asia.
I was overwhelmed, even felt a pride. Nevertheless, in a while, I felt sad when I saw Badshala’s promo. I was sad about Badshala because SaugatMalla, one of the most versatile theatre actors in the modern times has left theatre and moved into film.
What is the position of Nepali film in the context of World Cinema. The answer: nowhere. What is the contribution of Nepali Theatre to the World Theatre? The answer has been mentioned above.
Theatre is the mother of all kind of performing arts. Since its inception, film has a kind of love hate relationship with the theatre. The impact of mass media is fast eroding theatre’s appeal, and is forcing gifted, but simple and bewildered, artistes to make all kinds of compromises even to survive.
In the films like Kagbeni, Loot and Chadke, no doubt, SaugatMalla has done a wonderful job, but when I compare his performance in Agni ko Katha, JaatSodhnuJogiko, Doctor Kanak etc., I see Malla’s demotion as an actor. Theatre actor like Malla drawing into the charisma of cinema is alarming news for Nepali theatre lovers. In the past many versatile actors like SarojKhanal, director like Ramesh Budhathoki left theatre and moved into films. In the Modern time, Theatre director AnupBaral is working as director and actor in the films. Sunil Pokheral is also virtually absent from Gurukul, and is been spotted in the films. Some theatre actors like Daya Hang are simultaneously working in theatre and cinema, but I wonder for how long?
In most of our theatre-person, loyalty to theatre is skin deep and they are ever ready to abandon it at the first opportunity. Theatre is merely a launching pad for the flight into higher and more glamorous region of cinema.
Over the years, a very large number of talented both trained and untrained theatre people, who had distinguished them on stage, have migrated to screen. By their work, they had not only raised the quality and general standard of theatrical performances but also provoked higher expectations for future. This migration has created a gap and affected the élan of Nepali theatre. It has made the scene bleaker, poor and less vibrant.
Our traditional theatre is certainly very rich in forms, techniques, conventions and practices, which have been tried for centuries for effective theatrical communication. It has a highly imaginative blend of poetry, song, music, dance, ritual, gesture, mime, stylized costume and make up, theatrical treatment of time and space, often staging stories with a dramatic action of an epic dimensions, involving typed and yet three-dimensional characters.
However, the bastard child has swallowed its own mother.