It was during the time when agonized Nepalis were struggling for democracy that the whirl of street theatre began to take its place as a popular method to fight against prejudice. When Ashesh Malla, a renowned playwright and the director of ‘Sarwanam’ theater directed his first street play, ‘Ma Basanta Khojirahechhu’ (I am searching for spring) in Nepal as a symbolic representation of the quest of democracy during the ‘Panchayat’ system, it was considered outright immoral. The pain the dramatists had to endure was undoubtedly excruciating, especially when they had to go to jail for fighting for something that the people wanted – democracy. ‘Shoshan Birudha’ (against injustice), ‘Ma bhaneko Hami’(I means us) and ‘Anadikram’(eternity) were the street dramas that people performed for democracy during that time. Moving on to the politically disturbed present, the ‘Jana Andolan’(people’s revolution) of April 2006 by Sarwanam Theater was perhaps the most awe-inspiring dramatic demonstration presented, encouraging Nepalis to take their destiny into their own hands to build a new Nepal.
Without any kinds of technical equipments, lights or sounds, street drama is known to be a demonstration of reality where words like ‘CUT’ and ‘ACTION’ can never be heard. Also known as a low-cost theater, street drama does little to gain profits. Even in the midst of hustle and bustle, street drama performers struggle to retain the focus of the audience.
While actors use cymbals and drums to alert people, street drama seems to have its own allure, gathering an immense crowd. The actors’ dedication to their art is amplified by the fact that they get nothing in return but happiness by seeing the changes it has brought on the audiences right after the play! “It is all about passion and satisfaction,” says Kanchhi Maharjan, a PhD student in Street Theatre. Her opinions are further consolidated by Ghanshyam Shrestha, an actor in Sarwanam who claims his involvement in the profession is because of exuberance and pleasure. As Ghanshyam gets to rove around every nook and cranny of the country, he has had an amusing experience so far and gives no concern whatsoever to the unprofitable aspect of the profession. However, he also cites all kinds of difficulties that he has to go through, like gathering crowds and intrusion of a few irate locals.
“There are cases where people are denied watching the play. It also seems unjustifiable sometimes when we continue the play in all circumstances – even when there’s a heavy rainfall,” says he.
Om Mani Sharma, one of the oldest actors in Sarwanam lays out similar kinds of difficulties he had to go through at times when he went on tours for presenting plays. He evokes those memories when he’d hardly have any place to live and food to eat: he instead had long roads to travel and scorching heat to bear.
“Our wounds are healed by ‘taali ra gaali’ (clapping and hooting) and finally, we’re glad that we have become phenomenally successful to stimulate depressed souls,” adds Sharma.
A brave and audacious actor, Om Mani Sharma is addicted to street plays. Though not economically beneficial, he believes that he has got everything he wanted through street dramas, and the major accomplishment is none other than self-appeasement. He says, “To work wholeheartedly, you must forget the real you while performing and enliven the character you represent.”
Street theatre’s limitation in income generation seems to be of a dubious worth. When asked about the benefits that a street drama actor gets, Ashesh Malla remarks, “We are mad, and without madness, no one can do theatre.” His answer indirectly says that a street theatre actor has to struggle a lot.
“Why should we get anything to support reality and extremism? Why should we move away from service?” he questions. Such is the power of street drama, and it undoubtedly is a very successful medium to change perceptions.
Be it to develop a self-realization on how important nature is by plays like ‘Prakritiko Awaj’ (Nature’s voice) or to instigate a new beginning of a social system by plays like ‘Samapta Asamapta’ (End, No End), street theatre has been successful and effective. A unique and efficient approach, street theatre thrives to bring a new dawn to people’s lives; it changes their attitudes, supports optimism, and most of all, informs people about art and reality. According to Ashesh Malla, this has been well understood by the young generation who in the present context are the best actors.
“I see youths as the most valiant patriots and Nepal as a theatre. Their ways to combat bigotry and prejudice through acts like those done during the ‘Indra Jatra’ festival is impressive,” he says.
There are a number of street theater organizations with the support of I/NGOs. Deepa Pandey, founder of Sutradhaar as one such organization, believes that street dramas are the fastest and the most powerful media. Though financial problems arise sometimes, these organizations have been aided by several NGOs and INGOs. For instance, Norwegian Refugee Council (NRC), an INGO, has been assisting in presenting a play, ‘Khoj’ (Search) for the welfare of refugees.
The founder and director of Gurukul Sunil Pokhrel shows discontentment towards street theatre, basically for three reasons: difference in language, made-up stories, and blame. Difference in language refers to the fact that all regions of the country do not have the same language and performing in all the languages of the country seems to be quite an impossible job. To Pokhrel, Street dramas are fibs because he is confident that whatever the play says is hardly put into practice by the actors. And they are one of the means of blaming because the play seems to point out their weaknesses and then again advise them as though we were highly educated scholars to do the right things. He didn’t seem to show complete dissatisfaction over it, but suggested that the system be supported more with good facilities.
This unique and artistic form of theater seems to be mystifying. When it has hardly anything to give to the actors despite the fact that they work day and night is yet confusing. The obscurity and problems the actors have to bear with is wretched and it is imperative to value their hard work. Though some might believe that because actors take street theatre as a hobby and that its quality has been degrading, the repercussions of street theatre are highly laudable. So, observe a street drama to feel the power of action.
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