That’s the magic of art and the magic of theatres: it has the power to transform an audience, an individual, or en masses, to transform them and give them an epiphanic experience that changes their life, open their hearts and their minds and the way they think. Bian Stokes Mitchell.
A theatrical props, various collection of logs, aesthetic dresses to mirror the then historical times, the constant ratio of lightning, white curtains, mythical character orating various dialogues and drifting summary of story and this was theatrical spectacle which soothes the blood of an audience seeing and feeling immaculate presence of themselves in that spot.
And yes! That is the theatre, home to present ethical backdrops and solute the issues together. During ancient times to the modern era, theatre viewing approach had been a satisfying conundrum.
Conducting modern era to old pristine history, theatre has given a cinematic and interpersonal brisk of outlooks to an audience.
Theatre has become a platform to know the movement and gesture of characters, to explore the human soul, to know the untold story behind every marches.
Delving to the art of theatre culture, it brings the surges of entertainment, myth and philosophy rooting an audience to educate and entertain about the subject matter easier by giving the focal information and rapport of own land and another land.
Theatre is made for an audience through maker to share the different universe and collaborating those ideas in an aesthetic way.
Theatre enjoying culture has been prevailing for many years. From street drama, plays to theatrical curtain are adding bedrock in this faculty.
Shilpee Theatre, Theatre village, Mandala theatre, Mandala theatre, Sushila Art theatre, Aarohan theatre, group etc.
All these theatres are helping to continue and contribute the regiment of indigenous art and culture and giving new label to old and new raw stories to a beautiful urn.
All theatres motive is to foster the theatre going culture, depicting upheaval, grave and blues of society.
Among those theatres, today let’s penetrate well about Shilpee Theatre. Shilpee Theatre lies in the heart of Kathmandu, located on the lap of Battisputali.
Contact number of Shilpee theatre is 977-01-446962.Relevantly, Shilpee’s name refers to an artist.
And this place is the cafe for entire artists who etch themselves in an art of living, wearing the shoes of other historical or imaginary based fictional characters.
They well successfully portray their ethos, pain and feelings to emote other audiences.
With the same gush of inspiration, this theatre was established in 2006 with seven theatre artists.
Shilpee was registered as a national NGO at Kathmandu Administration Office under the Institution Registration Act 2034 B.S.
It is affiliated under Social Welfare Council. (Reference from Shilpee Theatre Homepage)
Shilpee theatre possesses “Gothale Theatre ” hall which had a potential of 210 seats capacity with privilege of balcony system. This hall is named after the much renowned and versatile playwright Late Govinda Bahadur Malla Gothale. Gothale Theatre accommodates the workshop facility which apex the creative matrix termed as “Abhimanch’’which is coined under the name of honorable Professor Dr. Abhi Subedi.
Not for religion but for reason. Shilpee theatre believes to grow the efficiency not just to impress but to express.
Breaking the rigid boundary and stitching into the linen of creativity, Shilpee theatre had been successful in coaching their own stand in an audience heart.
Providing proscenium plays to street plays, each unit of stories gives a picturesque motivation to alleviate the odds of society.
Motive of Shilpee theatre is to reflect upon an odds, and give it a proper end.
Connecting and condensing constructed atrocities to malpractices are given placement so that when it is played in front of an audience it becomes the responsibility of an audience to fortify, brainwash and realize their duty to construe and work out for solutions to the society.
Tamang tales, Yayaati, Madhavi, Coma, Political Sex, Mhendomaya and A New Nepal were some theatrical shows which bagged the star of show.
Reputed media and newspaper accolades and offer heavy congratulatory felicitations to these theatrical plays.
Whereas, street plays carrying an issues like HIV/AIDS, sanitation, women discrimination in various sectors, alcohol, drugs issues were the locus where Shilpee toli fight tooth and nail.
Despite that, theatres and theatre celebrities are not promoted or given a seizure of popularity, sometimes commercially worn out.
Few pacifying debut and best acting are given the steal show coverage on media papers and on television. Despite these odds, celebrities are still working their muscles, investing more time and effort out for growth of self and for development of theatre.
Veteran actress, riding her ambitious pack of horses, smarty, and self- made person.
She is a cheese of delight package, all in all go green girl. Saraswati Adhikari cracked her art of becoming theatre actress through her first debutant theatrical play “Loo.”
Her agenda to combat the transition makes her beautiful enough. No underlying adjectives are there to praise her.
From childhood she loved dancing. Her affinity towards singing and dancing leans a beautiful childhood memory and futuristic image for her family.
She expresses her gleeful memory, when she was kid she used to sing a lot in tuition class, her teacher scolds her.
But, she persisted, and she continued her friends to follow her rhythm, creating disturbance in class.
To no avail, her teacher punished her by keeping her inside in a drum. “’Kids are kids”, she says, with no fear, she sang inside the drum and made noises.
Finally, her teacher took her out from the drum, carried her home. Thus, he says that, he can’t teach this kid right now rather, once she turns adolescent, I will teach her.
Her slideshow of career line is not so long. Her first theatrical drama was Loo.
And that theatrical play realized her heart and feet towards the universe of theatre.
She didn’t feel monotonous while working in theatre. Her aptitude towards acting is sharpening her growth.
Her exponential experiment nature makes her unique. In Yayati play, director Tanka Prasad Chaulagain, confronted her with the role of Queen Devayani(wife of King Yayati) in which she was given two days for preparation time, and on the third day there was a live show.
She was in a dilemma how to make up her mind and if she didn’t she was losing a golden chance.
She wanted to break the same character, with hearty yes for the role, she outdid with drastic surmise, winning hearts of an audience.
Still, she is experimenting with something new and something fresh which can dare her with newness.
She feel,” whatever she is doing, she is made up for that doing”. She had read for educating herself, doing job to employ her growth.
When she enters the theatre, she put heart into it. The most important phase of being content is to exist me, myself in that space and surrounding.
She plays theatre accordingly to her wish. And that wish is not just limited for commercial purpose, for publicity and popularity.
It is like feeling of astounding madness, creativity, freedom, divinity and creativity a par.
She quoted that she shouldn’t be satisfied. She is still in a stage of infancy in this sector and she has to read and grow a lot to know about it.
She wants to generate a feeling of proud artist in theatre faculty. For that, she has to do hard labor, toil like blood, sweat and tears.
Reserved and smart cookie, contagious smile thrower, sweetest as icing of cake, who bagged miss teen award in 2011, Archana Panthee came to an exposure in theatre art through the limelight show, Madhavi which was directed by Tanka Chaulagain.
As, her road towards theatrical highway is an accidental turn away.
Although, she is bachelorette in Social Work, her reflective and bold character let Tanka Sir to enroll her in his school of thought.
Her school drama teacher Tanka Sir, approached her with main role, reserved but softie character, Madhavi.
She denied at first, but later on she accepted that proposal which embark her footprint on theatre hall.
When she performed for the first time in Shilpee Theatre she was just setting herself in that time.
After Madhavi, she felt magnetic attraction and figured out her deep interest in the world of theatre.
And she gives acknowledgement to Tanka Sir for this. After a while, she worked as an assistant director in” Laatiko Choro” which was another big bang to her career, breaking her comfort zone.
And she played as “Chitralekha” character in Yayati which was revered by many audiences.
Her latest move on is, the main serial actress in Maya Bhanne Cheez Estai Ho grappled by Ramsar Media.
She still consider herself as a student of theatre artist, making herself as a strong root in the soil of Theatre.
She is still in the midst of learning, experimenting in new varieties of genre and explore her stamina underneath it.
Tanka Prasad Chaulagain
Down to earth person, simple artist, man of heart with sensitivity yet beautiful collaboration of ideologies expressing in a sweet spout of words, and a warrior who brought metamorphosis change in theatrical history with two directorial theatre plays, Madhavi and Yayati.
He had been recognized well through in writing child and youth literature adding his own dimension.
Taalatuli, Kathmandu Geet, Zero Cottage, Ghoda Udechha are some of his names of the books which carved the image in the literature world.
His passion towards theatre and hobby of writing created an instinct of who he is as a person.
Although he used to be an earnest poet before, his drive of indulging in an art of theatre happen through political social mayhem happening in Nepal.
He started his career through Birendra Hamal institute which painted his own image towards the theatrical world.
He enrolled himself in various theatre acting, engaged himself in various street plays which polish the dominion part in his life.
Loving kids and knowing their paramount passion, recognizing art of children is his gallery of interest.
He is a drama teacher who is teaching children in an acting skill so as to proactive the trend and nurture the future of theatre.
He plays with the transition happening in his life. From the writing world to his diversion towards the professional world of theatre is an internal preoccupation of him, which makes him charming personality.
Inputting theatre as a temple, and he himself as a devotee of this temple can mark his aura in the theatrical world.
As Robert Frost truly quoted well in his poem, ”Stopping by Woods on a Snowy evening,” “And miles to go before I sleep” quote fit well in director, writer and teacher Tanka Chaulagain ambitious drive who still believe to flex himself in this professional faculty to improvise and to grow.