Starting with the play ‘Bagh Bhairab,’ the actor has come a long way.
The petite 26-year-old will soon be seen in N B Maharjan’s film, ‘Tori Laure.’ A theater graduate from the Maharaja Sayajirao University in Gujarat, India, Samuna would rather let her passion for her work speak for itself.
“Joining Gurukul was the best ‘accident’ of my life,” she says.
You’ve done two films but you’ve been part of more than 20 plays. Was that a conscious decision?
The allure of acting in films was definitely what attracted me to acting in the first place. I come from a family that has no link to the acting world, and when I came to know of the two-year residency program at Gurukul, I never told them. It was only after I got the call informing me of my acceptance to the program that I informed them. Then I completely got films out of my system during my years at Gurukul after which I went to study theater in Gujarat. Being immersed in a certain environment made me forget films, and it was only when I was offered the role in ‘Dhanda’ that it all came back to me.
Did you notice any differences in the two storytelling processes?
It’s the technical aspects that form the major differences, as acting is basically the same. Theater allows an actor to push himself to the limit while interacting directly with the audience. In films, the actor has to act in accordance with the camera frame, as that’s what’ll be doing the storytelling. Film directors should let their actors know about the frame if they want to get the best from them. There are challenges in both methods; neither is easy nor very difficult. I enjoy being an actor, so it doesn’t matter where I’m acting in – theater, films or on radio.
In what ways is working with national and foreign directors different?
Working with Sabine Lehmann, the German director, has been my best experience till date. I’ve been fortunate to work with her for three regular years, in ‘The Conference of the Birds,’ ‘Metamorphoses,’ and ‘The God of Carnage.’ I also worked with Morten Grough, the Norwegian director, in the beginning of my career.
I believe their communication method, not just with the actors but also with the technical team, is very different and impressive. They can really understand the mental state of the actors when they are in their characters, and so can direct the players accordingly.
I’ve done plays in Nepali, English, Hindi and other Indian languages, but I prefer to act in Nepali plays. Working with Nepali directors means that there’s cultural understanding which makes communication better and easier.
BIJAY GAJMER/REPUBLICA
What sorts of roles excite the artist in you?
Like all artists, I want to perform in a variety of roles. I like to challenge and stretch myself. An ideal role or character for me would be to portray somebody who is a vast contrast to who I am in real life. I would find that challenging and exciting.
Romance is also interesting to me and I like reading and watching it. The important point is that it shouldn’t be an ordinary run-of-the-mill love story but something different and consisting of different shades of romance. Should I be offered a chance to portray such a character, I would definitely choose that over other roles.
In your opinion, what makes a film good?
A good film is always a commercial film. To be qualified as a good film, it should be a mixture of artistic and commercial values.
How does acting make you feel?
It’s like I’m someone new and different every time. If I did a regular job, I wouldn’t have this feeling. Every three months, I’m with different people, and at a new place, and being a different person.
Will you ever try your hand in writing or directing?
I write occasionally, and my play, ‘Ibsen Lab,’ is currently being staged at Mandala Theater in Anam Nagar. So I’ll continue writing but I don’t have any plans for direction at the moment.
How has theater in Nepal changed or remained constant since you joined it eight years ago?
The positive note in today’s theater scene is that people have begun to understand the importance of academic degree/s in the subject. Formal training is important and there’s an awareness that if you want to take it seriously, then you need to study.
However, what remains constant is the lack of space to perform here. We don’t have a space for big productions, and if we want to lease a hall in Rastriya Nach Ghar, it’ll cost us Rs 50,000 per day. So we need to compromise with smaller areas in Mandala and Sarvanam Theaters.
What’s the state of women in theater today?
Until some years ago, the problem was in not getting your voice heard. If I wanted to share an idea or a concept, acceptance was hard to come by. And when it was accepted, the problem would come in the form of not being acknowledged and given credits for it. This problem still exists for women, but I think I can persist and handle it better. I have many years of work left and I shall continue doing the best I can.
Another drawback is how the media looks at women artists, like they are giving us space under a certain quota. We should be judged and also criticized on our work, not based on our gender.
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