About the Play
Title: Khabar Harayeko Chitthi (Letter without any message)
Duration: 80 Minutes (approximately without an intermission)
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.