Nepali Theatre Scene Sees Resurgence with Thought-Provoking Play 'Bahuriya'

Kathmandu, February 9: History bears witness that the Kathmandu Valley has long been a fertile ground for theatrical flourishing, dating back to the Malla period. During the reigns of Malla kings like Pratap Malla, Jagajyoti Malla, Siddhinarsingh Malla, and Jagatpratap Malla, theatre in Maithili and Nepal Bhasa reached its zenith. Following the fall of the Malla dynasty, the pace of theatrical development seemed to slow down, a trend that persisted for a considerable time.

It was after the Jana Andolan (People's Movement) of 2046 BS (1990 AD) that the journey of Nepali theatre regained momentum. Institutions like Aarohan Gurukul, Sarvanam, and Minap were thriving. History records that creators, directors, and writers such as Prachanda Malla, Neer Shah, Ashesh Malla, Sunil Pokharel, Navin Subba, Anup Baral, Bijay Bishphot, Mahendra Malangia, Yogendra Nepali, Sarubhakta, Nisha Sharma, and Ramesh Ranjan were actively involved in promoting Nepali theatre. Immediately following the 2046 movement, artists felt the environment was conducive, leading to increased activity. This sentiment naturally influenced the theatre scene, just as it did other sectors. Nepal Academy was felt to be active, initiating an annual drama festival. Numerous theatre groups from across the country would flock to the capital with their colleagues to 'amplify' their talent and expression, presenting their work. Formal and informal discussions took place in the capital, and audiences began to be drawn to watching plays.

Over time, this environment seemed to destabilize. Theatre activity appeared somewhat hampered. The auditorium of the Gurukul, situated between Maitidevi and Battisputali, was devastated. The great theatre creator Sunil Pokharel was deeply distressed. As the state did not consider it a matter of concern, the development and expansion of theatre were affected. Perhaps one cannot disagree with this. The staging of plays did not cease, but the search for meaning could not take a clear shape.

In recent years, however, the situation can be considered to have improved. Although the disrupted Gurukul has not yet been rebuilt, the emergence of Shilpi Koshi Theatre as a center of hope is a matter of satisfaction. Audience presence in the theatre seats has been visible again. There is a renewed sense of growing attraction towards drama. Plays have started being staged commercially, and crowds have been seen at ticket counters. Theatre artists are becoming encouraged and are seen striving to establish their 'careers' by proving their talents.

Recently, a similarly satisfactory situation was experienced at Mandala Theatre in Thapagaun, Kathmandu. This theatre has been struggling for a long time to preserve drama, or theatre, in Kathmandu. Connected to this effort to preserve theatre is the recent play, 'Bahuriya'. 'Bahuriya', which began its run on Magh 8, will be staged until Magh 29. It would not be an exaggeration to say that 'Bahuriya', which poses questions to the entire society through its audience, has been presented as a unique rendition of what seems like a simple narrative.

It would not be wrong to say that the questions raised by 'Bahuriya', which is limited to just two characters during its nearly one-hour performance, attempt to stir the current complexities of Nepali society. 'Bahuriya' began in a dark, closed room and concluded with the continuous buzzing of flies within that room, the dim light of a lantern, a sewing machine, a small cot (bed), a drawer, a plate of food, and the suffocating, tense atmosphere, uncertainty, mental and physical conflict, a psychological prison constructed by numerous ropes, the satire of puppets, and finally, an end. Bahuriya means someone's daughter, someone's wife, someone's daughter-in-law. But, Bahuriya has not experienced the joy of motherhood. Even after four years of marriage, her husband does not wish to touch her. Why? The search for the answer to this question attempts to drive the play. 'Bahuriya' itself is an experiment, but simultaneously, it is courage, struggle, an attack on the existing social structure, rebellion, and a necessary-essential debate. 'Bahuriya' is also an attempt to find answers to numerous questions.

'Bahuriya' is written and directed by Suraj Yadav. Suraj himself and Prashansa Siwakoti star in the lead roles. These two characters carry the play from beginning to end. The role of Suraj as the director is as crucial as the role played by Sarita Giri as the creative director. Since Suraj is also the writer, it cannot be denied that his directorial role might be heavily influenced by the writer's sentiment. However, the puppets present on stage in various states are witnesses to the fact that Giri's efforts have significantly contributed to the play's impact. Furthermore, smoke is presented as a symbol for numerous themes. There are many instances in the play where an attempt is made to address the situation through smoke. Smoke is presented sometimes as uncertainty, sometimes as illusion, sometimes as satire, and sometimes as a voiceless expression. निश्चय Giri's effort is significant.

In the context of maintaining the supposed decorum of an obedient child who cannot express themselves to their parents in time, a young man (Ramcharan) marries a young woman (Sita). The young man, who is not mentally prepared for marriage, flees immediately after the wedding and reappears four years later. The young woman, however, has been waiting for her husband. Fearing the young man might flee again, his family members tie him up and keep him in a room. Within that room, a mental and psychological conflict ensues between the young man and the young woman. All their dialogues are related to this. While some dialogues seem ordinary in places, others appear burdensome. The two characters in this play are presented with the names Ram and Sita, symbolizing the characters from the Ramayana, and through some of their dialogues, an attempt is made to question the very message of the Ramayana. In the end, the young man pleads for release from the bond of marriage, and after expressing a very poignant state of mind, the young woman sets the young man free from the closed room. Contrary to the Ramayana, where Ram stays at home and Sita goes out, in this play, Sita stays at home while the character Ram goes out, and the play concludes. Essentially, this is the plot, but it has been presented in a dramatic manner.

The play, which fuses the core narrative of Mithila-Madhesh with the Nepali language, Maithili language, culture, and ground reality, is fundamentally centered around female psychology. The background is Mithilanchal. Songs, music, and customs reflecting Mithila culture are displayed. The language of the play is Nepali, but it is mixed with a little Maithili language and sentiment. Since it is a play, some theatricality must be considered natural, but the play attempts to provide a strong voice to women's emotions, needs, desires, aspirations, dedication, sacrifice, and rebellion. The analysis of subtle emotional states to express femininity is as important in this play as the context of a man's right to make decisions about himself.

If we analyze the plot in detail, we find that both the young man and the young woman are victims of traditional family pressure. From this perspective, although the background is Mithila and Madhesh, the play's story is related to the entire Nepali society. Certainly, our society is patriarchal. Most of our decisions are made under this mindset. But does the impact of the patriarchal structure only affect women? This play asks that question. Furthermore, it inspires us to seek an answer to whether only men's desires matter and women's desires have no significance.

According to the writer-director Suraj himself, the play seeks to depict the mental anguish, social pressure, and discomfort experienced by a girl who marries and moves to another home when she does not find the husband or family she hoped for. Similarly, the play's theme explores the psychological impact, emotional hurt, and struggle in life when both the boy and the girl marry against their wishes and do not receive freedom.

The play has curiosity. It has suspense. It has thriller elements. According to creator Vijay Baral, the curiosity generated as the secrets of the story unfold keeps the audience continuously engaged. The statement by Sarita Giri, the play's creative director, is very significant: "Our relationships are suffocated today, like the puppets hanging on the walls of a dark room, like the smoke from an extinguished hearth. This relationship is neither just love nor conflict; the colors of the relationship are like these puppets hanging on the walls."

The essence of the play is as Giri stated, but the question arises again: Who is the puppeteer? Who is making the characters in the play dance like puppets? A satirical message conveyed in one scene where Bahuriya (Sita) manipulates two puppets (perhaps symbolizing male and female) is very significant.

In summary, the play is fully successful in conveying its message. The acting by Suraj and Prashansa is powerful. The direction is adequate. In some scenes, it seems as if the actors were overly influenced by theatricality. In some places, questions arise whether the scenes of laughter and crying are irrelevant. Since it is a play, there is always the possibility of directorial improvement and change in every performance. It is not unnatural to hope that future performances will be more refined.

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