About the Play

Title: Khabar Harayeko Chitthi (Letter without any message)

Duration: 80 Minutes (approximately without an intermission)

Participating Directors:
Akanchha Karki, Kiran Chamling Rai, Kedar Shrestha, Chetan Angthupo, Che Shankar, Patrika Ghimire, Pariwartan, Pashupati Rai, Renuka Karki, Sijan Dahal, Sudam CK and Sonam Lama

4 Sequences in the Play:

1.    Dry Eyes (story of displacement)

Manaraj, a village-messenger, is living in a remote village of Jumla. His son is disappeared. He is not the only one who has lost his son rather there are lots of people in the village facing the same issue. Haunted by memories most of them are leaving the village. Manaraj has a strong belief that his son will get back to the same house. That’s why he can’t leave his home. But he is unable to stop others from leaving. Even though he is in deep pain of losing his son, villagers are frequently asking him to spread such messages as an eagle is attacking chickens in the village.

2.    Kurrai Lau (effect on culture)

Sanchamaya is living a lonely life after her husband was taken away by some 'boots' from the place where he was performing his ethnic rituals. She becomes more alone after her son has gone to the city for further studies. She has been left with her husband's drum and turban as her companion. Sitting on the old swing made by her husband Harkalal, Sanchamaya is expecting him to come home. The villagers are worried of losing the only expert in their rituals. They say - we need him either dead or alive. Sanchamaya doesn't want to give her husband's drum and turban to anyone because she believes that her 'Silimangpa' (ritual master) will come back.

3.    Sketch Stories (daily life struggle)

Kamal was an active, determined and lovely young boy. He was the pillar of his parents' hopes and dreams.  One evening some of the 'so-called friends' took him away and didn't return him to them. His mother leaves some food for him in courtyard every morning before leaving to city to find her son. They only get frustrations from the state and humiliation from society. She finds every evening that a bird has taken the food for Kamal. They don't believe that Kamal has transformed into a bird. That’s why they keep food for their son outside every day and go to the city to find him. A sketch of his mother, that Kamal was painting the evening he was taken away, is still incomplete in their roof. Kamal's father, who was teaching him to sketch, has a strong belief that his son will come back one day and will finish the sketch of his mother by his own.

4.    Next Episode (new beginning)

Sarita didi has been struggling a lot to find her husband after he was taken away. With the map sent by her husband she was wandering different places to find him. In this journey, she has explored a new episode in her life. Her daughter is now grown up and understands well her miseries. They have started together a new business. Her daughter feels very proud about her mother who is struggling hard and going ahead despite of her big lost.


About the Play Making Workshop, the Rehearsal Process and the Play

2017 a Play Making Workshop on social-political issues was hosted for three weeks in Kathamandu and Nagarkot to support young Nepali theatre directors.

2018 a follow up workshop on the issue of enforced disappearance was conducted the first week in Kalabang Gharedi Homestay, the following two weeks in Pokhara Theatre. Bimal Subedi facilitated the sessions on content selection, play development and production process.

12 female and male directors created 4 different stories and combined them to one play. They have written and directed it and are now acting in the play.

In the beginning the participants presented stories and materials they had researched and collected from their local. After sharing and discussing in the group and creating first scenes they also met with affected family members who are residing around Pokhara.

The play portraits, depicts and reflects in an artistic way experiences that families from all over the country of disappeared people are facing. It doesn’t only show their miseries and pains but highlights also their strength, their struggles and how the raise their voices for their rights.

The participants are Aakanchha Karki, Shankar Rijal, Sudam CK, Kedar Shrestha, Sijan Dahal, Chetan Angthupo, Kiran Chamling Rai, Pariwartan, Patrika Ghimire, Renuka Karki, Pashupati Rai and Sonam Lama, completed by Raj Shah and Namrata KC who could only join the first part of the workshop.

The sound was compiled by Barat Limbu from Mandala Theatre. Some volunteers from the co-organizer Pokhara Theatre have worked on and off stage, too.

The play was staged in Pokhara Theatre from 24th to 26th August 2018.

Now, the play will be staged at Mandala Theatre, Anamnagar as a regular show from 31st August 2018 to 9th September 2018. Every evening (except Monday) at 5:30 pm and additional show on Saturday at 1 pm.



The 15 selected theatre managers will be invited to an orientation session together with their theatre group leader (creative head) for initial two days. 2 more candidates who are working as freelancer manager and are interested in working with theatre sector also will be invited as participants. After the orientation, only the managers will proceed with the 5 days long workshop where they will be provided with the context and theory of art management.

The workshop will provide a space for different theatre group, their managers and freelancers to discuss and develop possibilities and strategies for strengthening efforts, collaboration and coordination to develop a systemic management of art related activities. It will also be helpful in resolving tensions between creative and management sector of art related organizations.

Requirements for candidate managers:

  • Actively working in management sector of any theatre organization from Nepal (not the leader)
  • Vision to develop and apply creative management process which also respects artists and team
  • Strong dedication to art management work
  • Willingness to reflect and analyze oneself, one's work and society for learning
  • Active participation throughout the workshop/Willing and able to join full time
  • Willingness to manage/coordinate at least one theatre production based on the workshop's learning.

To Apply:

  • Fill out application form and sign terms of participation(can be accessed online or taken from Mandala, for group/people outside of KTM without internet-access please call Mandala how to get the form)
  • Portfolio of Group and applying Group Manager (e.g. a detailed resume)
  •  Hand in the application form, signed terms of participation and portfolio via email or directly at Mandala no later than the evening of 21st July, 2018 (later applications will not be considered!)
  • A Selection Committee will make a selection of candidate managers based on their resume.
  • Selected Candidate Managers should bring their group leaders (creative heads) to attend a 2 days orientation in the beginning of the workshop.
  • Selected candidates from out-side of Kathmandu will get the food, accommodation and travel cost from the organizers.
  • You will receive confirmation of your participation by 25th July, 2018.
Apply Online




Mandala Theatre is seeking application from qualified national individual for the position of training facilitator for our upcoming art management workshop. The details for the position are listed below.


TOR – Terms of Reference

Training facilitator (National Position)

For "7 days Theatre Art Management Workshop for Theatre Managers and Theatre Group Leaders"


About Mandala

Mandala is a group of young, enthusiastic, dedicated and diverse theatre workers. After long training and individual involvement in this field, Mandala Theatre-Nepal was formed to work together. We want to develop a participatory and inclusive space open to various genres of literature and inalienably linked to theatre.

The advancement of theatrical arts is our commitment; the production of innovative and creative works of art is our goal. We have devoted ourselves to exploring, popularizing and preserving the varieties of traditional and indigenous theatrical forms of our society, and we look ahead to work even more actively in the days ahead.

Our theatre is a strong voice for social justice, political awareness, and human rights. The driving spirit of Mandala is our people’s freedom and happiness.


Summary of Position

The training facilitator will facilitate a 7-days workshop on "Theatre Art Management Workshop for Theatre Managers and Theatre Group Leaders" She/he will offer relevant accompanying material and theoretical, as well as practical experience in the area. The workshop will be in 2 phases. The first phase will be a 2 days intensive orientation and practical session for theatre group leaders together with their managers and freelancer managers whereas the second phase will be a 5 days intensive workshop for Theatre Managers from different theatre group and freelancers. Objective for the workshop is to support Nepali theatre becoming more relevant and reliable to society by applying systematic and transparent management system.The training facilitatorwill work closely with Mandala’s Peace Worker Team to support Mandala in the implementation of this project, as well as its post-processing.


Content which needs to be covered through the workshop

  • Creative art management
  • Cooperation/Conflict between management and artists
  • Manager’s leadership skills and communication skills
  • Steps of the production-process and manager’s role and responsibilities
  • System as integrated practice for theatre art and managers
  • Integrated practice of highlighting challenges, limitations and potentials in theatrical work

Topics for first two days' orientation

  • What is management in general concept? How do we see it?
  • What is the management practices currently being practiced by different organizations?
  • What is art management in general? Why it is important? How it is different or similar to other management system? (With the focus on to theatre management.)
  • How can we bring changes/growth in theatre by practicing theatre/art management?
  • How to build understanding/strengthen relationship between art managers and leaders?

Topics for five days' workshop

  • Managerial concepts and practices
  • How to create sustainability of art organization?
  • Art Marketing
  • Financial management (sponsors/fund-raising/accounts/taxation etc)
  • Collaboration with corporate sectors (how art manager can play the vital role?)
  • Production Analysis
  • Policy making for organization
  • Documentation
  • Organizational chart (roles and responsibilities and required skills)
  • Manager’s leadership skills and communication skills
  • Other terminologies

Qualifications and experience

  • Relevant academic qualifications
  • Various practical experience in art management related work
  • Innovative project coordination experience
  • Good skill in human resource identification and mobilization
  • Passionate about inclusive management work
  • High ability of self-analysis and self-reflection plus the ability to role-model it
  • Ability to promote equality and empowerment in the workshop- and performance-space related to Gender and Social Inclusion
  • Practical teaching experience in the relevant area
  • Good communication skills in Nepali and English


General Information

The workshop will be facilitated from 5th- 11th September 2018 in Kathmandu. Based on the facilitator’s interest and availability, she/he is encouraged to join the selection committee of the participants as volunteer from any day between 23rd- 24th July 2018. Please indicate in your application whether you would be available to join or not.


Please state in your application how you would teach the relevant content of the training as outlined above. Please also indicate a preferred amount of financial compensation (daily rate) and note, that our donor organization will prove your qualifications and decide upon the final rate being offered to you. We apologize for any potential inconvenience caused and encourage you to clearly state your academic and practical experience in the CV for the best financial outcome possible.

Please hand in a Cover Letter, CV, Tentative Schedule and Content for the Workshop, names and contact details of two referees, and a portfolio or similar documentation of previous relevant performance- and facilitation- experiences via email:  This email address is being protected from spambots. You need JavaScript enabled to view it.  &  This email address is being protected from spambots. You need JavaScript enabled to view it.  or as hard-copy at Mandala’s office in Anamnagar. The application has to be in English. Deadline for application is the 18th July 2018.

For further questions and inquiries please email to the above addresses.

Please refrain from phone inquiries. You will be contacted on 20th July 2018 if you are selected and invited to an interview process on 22nd July 2018.

Please note that the realization of this project pends budget-approval.

Women, people with disabilities and/or ethnic minorities will be favored and are especially encouraged to apply.


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