mandala theatre - family theatre project report

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Project Completion Report FAMILY THEATRE (104.Nepal.5-81.KTM) May 2011 January 2012 Submitted to: Embassy of Denmark Neel Sarswati Marg, Lazimpat Kathmandu, Nepal P.O. Box No. 6332 Submitted by: Mandala Theatre Nepal Anamnagar, Kathmandu Phone no.:01-6924269 E-mail: [email protected] Website: www.mandalatheatre.com May 14, 2012

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“Family Theatre” is a project undertaken by Mandala Theatre Nepal in collaboration with Mithila Natyakala Parishad (MINAP) Janakpur, with the support of the Embassy of Denmark in Kathmandu (DANIDA). The overall objective of this project was to train a small cast and crew from two theatre groups to develop, produce and perform two plays with universal themes in at least 30 locations in Nepal.

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Page 1: Mandala Theatre - Family Theatre Project Report

Project Completion Report

FAMILY THEATRE

(104.Nepal.5-81.KTM)

May 2011 – January 2012

Submitted to:

Embassy of Denmark

Neel Sarswati Marg, Lazimpat

Kathmandu, Nepal

P.O. Box No. 6332

Submitted by:

Mandala Theatre Nepal

Anamnagar, Kathmandu

Phone no.:01-6924269

E-mail: [email protected]

Website: www.mandalatheatre.com

May 14, 2012

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Family Theatre | Project Completion Report | May 2011 – January 2012 | i

EXECUTIVE SUMMARY

“Family Theatre” is a project undertaken by Mandala Theatre Nepal in collaboration with Mithila

Natyakala Parishad (MINAP) Janakpur, with the support of the Embassy of Denmark in

Kathmandu (DANIDA). The overall objective of this project was to train a small cast and crew

from two theatre groups to develop, produce and perform two plays with universal themes in at

least 30 locations in Nepal.

The Project Completion Report of Family Theatre highlights the activities performed during the

project duration of 9 months (May 2011- January 2012). The project implementing strategy and

process, key achievements, major findings and analysis, key challenges, lessons learnt and

recommendations are included in the report. The report has been prepared in consultation with

the directors, actors, scenography team and administrative members of both the organizations.

Family Theatre was an international partnership project between Passepartout Theatre

Production (PTP) Denmark, Mandala Theatre Nepal, Kathmandu and Mithila Natya Kala

Parishad (MINAP), Janakpur from which two Nepali theatre groups prepared two plays focusing

on children and families using small cast and crew. The plays were performed 29 times around

Nepal and helped the theatre groups to form a national theatre network. The project provided

Mandala Theatre and MINAP the tools and techniques to produce simple and aesthetic plays

that respect the feelings and understandings of children. Both groups learnt to work according

to a production plan. The groups also learnt that a play becomes more approachable for all kind

of audiences if it contains more physical movement and universal theme rather than long

dialogues.

The audiences responded positively to the plays that were both based on the inter relationship

between family members. Some of their feedback and responses have been documented in print

and visually.

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LIST OF CONTENTS

Contents Page Executive summary .............................................................................................................. i List of Contents ................................................................................................................... ii Abbreviation/Acronyms ..................................................................................................... iii 1. Introduction ................................................................................................................... 4

1.1 Background ................................................................................................................................. 4

1.2 Family Theatre Project and Its Progress: ............................................................................... 4 2. Project Implementing Strategy and Process ................................................................. 5 3. Project Outreach ............................................................................................................ 8 4. Documentation: ............................................................................................................. 9 5. Major Achievements, Findings and Analysis ................................................................ 9

Major Findings and Analysis .............................................................................................................. 9 6. KEY CHALLENGES ................................................................................................... 10 7. LESSONS LEARNT .................................................................................................... 13 8. CONCLUSION ............................................................................................................ 13 9. RECOMMENDATIONS ............................................................................................. 14

ANNEXES

Annex-1: Family Theatre Project Activities……………………………………………………15 Annex-2: Final Stories………………………….. …………………………………………….16 Annex-3: Detail of the Story Development and Production Planning Workshop…..........……...20 Annex-4: Details of Production Process Workshop…………………………………... ……....39 Annex-5: Details of Family Theatre Tour ……………………………………………..……....48 Annex-6: Premiere and Closing of Family Theatre .…………………………………... ……....74

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ABBREVIATION/ACRONYMS

MINAP: Mithila Natyakala Parisad

Mandala: Mandala Theatre Nepal

PTP: Passepartout Theatre Production

DANIDA: International Development Cooperation, Embassy of Denmark

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1. INTRODUCTION

1.1 Background

Nepal has a long theatre history, in which, street and forum theatre are the most used theatrical

practices for advocacy and activism. Theatre has advanced in Nepal more from the perspective

of advocacy of issues or public criticism of socio-political situations in the country than as a

creative art form. However, some proscenium theatre productions try to break the formula by

producing experimental plays. But those also are highly concerned with text and intellectuality.

There exist very few plays that offer families, encompassing a range of ages, to enjoy theatre as a

family activity. Even these plays are mostly based on stories that are foreign to the audience at

large in Nepal.

At present government agencies and private institutions lack the expertise and strategies required

to develop theatre professionally and artistically. Although Nepal Academy of Music and Drama

has been established to provide government support, it has been unable to develop any kind of a

vision or strategy for theatre development in Nepal.

Denmark has a long experience and tradition in children's and theatre for the youth. In 2009,

'Passepartout Theatre Production (PTP) and Aarohan Theatre Gurukul' created a tour-friendly

family show, 'Bathi Rani' (The Clever Queen) that successfully played in Kathmandu and

Denmark. 'Bathi Rani' established the fact that there is a clear basis and need for this kind of

setup and performances. This experience gave PTP the comprehension that there is a large gap

and strong need to promote children's and Youth Theater in Nepal.

PTP trained and coached two young theater groups to create two touring family friendly

performances in 2011 to share experiences and further develop the cross-cultural cooperation

with Nepal.

1.2 Family Theatre Project and Its Progress

Family Theatre was a nine months long project (May 2011 – January 2012) undertaken by

Mandala Theatre Nepal in collaboration with Mithila Natyakala Parisad (MINAP), Janakpur. The

project objective was to train and promote theatre artists, directors and scenography team (sets,

costume, props, light, sound) along with developing the trend of dramatizing Nepali stories.

Stories with universal value were selected and scripted to represent two ethnic communities from

the plains and hills of Nepal. The selected stories were translated and sent to the Danish theatre

experts for comments.

The Story Development and Production Planning Workshop in August 2011 was based on the

selected stories. Participants included team leaders, directors, actors, scenographers and

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documentation team. The stories were developed into dramaturgy. Participants prepared two

separate production plans and checklists.

The period following the workshop was utilized by the two theatre groups to research, design

and produce sets, costume, props, music, sound and light. Team Leaders identified potential

locations for staging the plays. All these activities were shared online between the partners.

Mandala Theatre organized a Test Performance of both the plays in Kathmandu on 24th

November 2011 where invited students watched the plays and gave their feedback. Both teams

incorporated the feedback where relevant to improve the plays.

The plays were premiered at the opening ceremony of the 2nd Mandala International Youth

Theatre Festival organized by Mandala Theatre Nepal on 25th November 2011. Mandala

performed “Curly Hair” and MINAP performed “The Clever Boy and the Demon”.

Two different theatre tours around the country were launched from the premiere. Mandala

started its journey from Patan Durbar Square Lalitpur and MINAP started its from Dhanusha.

'Curly Hair' has been performed 15 times in 13 districts and 'The Clever Boy and the Demon'

has been performed 14 times in 12 districts.

The closing ceremony of Family Theatre was organized by MINAP in Janakpur where both the

plays were performed.

2. PROJECT IMPLEMENTING STRATEGY AND PROCESS

A need to produce plays for families and children was identified during the production and staging of 'Bathi Rani' (The Clever Queen) by PTP (Passepartout Theatre Production) in 2009. This experience gave PTP the comprehension that there is a large gap and strong need to promote children's and Youth Theater in Nepal.

In July 2010 Jacques S. Matthiesen, play director from PTP visited Nepal to meet with existing

theatre organizations in Kathmandu that had been identified by the Cultural Consultant Renchin

Yonjan. After a series of interactions Mandala Theatre was selected as the local partner with the

understanding that the project coordination with a second partner would be its responsibility.

PTP would provide the technical expertise and inputs where required.

The partnership project was developed by PTP and Mandala Theatre with MINAP as the third

partner to increase interpersonal understanding and share experiences for family theatre in

Nepal. As Mandala Theatre is a Kathmandu based organization, MINAP was selected to

represent the Terai belt. The project therefore represents national and international partnerships

for development of family theatre in Nepal.

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Story Selection Meeting: Cultural Consultant Renchin

Yonjan, Mandala Team Leader Dayahang Rai, MINAP

Playwright Ramesh Ranjan Jha and Mandala Play Director

Rajan Khatiwada (respectively from left) on July 2011. Story Selection Meeting: Cultural Consultant Renchin

Yonjan, Mandala Play Director Rajan Khatiwada,

Mandala Playwright Rajan Mukarung, Mandala Actress

Sirjana Subba, Mandala Team Leader Dayahang Rai and

Office Secretary Nabina Aryal (respectively from right)

on July 2011

Story Development Class: Christian Q Clausen

giving a class on Dramaturgy on 18th August 2011.

The project activities were carried out in five phases.

Phase 1: Story Selection

Stories with local flavor and content representing the diversity of

Nepal were researched by reading

published stories, sharing and

discussing unpublished but popularly

told or heard of stories and requesting

writers to send in stories. Ultimately a

decision was made to develop plays based on a folklore and

legend from two ethnic communities of Nepal. The selection of

the writers was made by the two organizations. The criterion for

selecting the writers was their knowledge and experience of the related cultural context.

Stories with universal value were selected and scripted to represent two ethnic communities from

the plains and hills of Nepal. The selected stories were translated and sent to the Danish theatre

experts for comments.

(Annex 2: Final stories.)

Phase 2: Story Development and Production Planning

Workshop

The Story Development and Production Planning Workshop in

August 2011 was based on the selected stories. Participants

included team leaders, directors, actors, scenographers and

documentation team. The stories were developed in the form of

dramaturgy. Participants prepared two separate production plans,

checklists and a listing of potential venues.

(Annex 3 Detail of Story Development and Production Planning Workshop eg. Schedule, List of

Participants, Rapporteuring reports, Photos, Media Coverage and Production Plan)

Phase 3: Research, Discussion and Design

The two theatre groups researched, designed and developed the sets, costume, props, music,

sound and light. Potential locations to stage the plays were selected and potential local partners

identified. The venues were selected and performances staged with the support of the local

organizers.

(Annexe 5: Timeline of activities; Design (sketches & photographs) and other activities)

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Production Process Workshop in

Kathmandu: Jacques instructing

Mandala Actor Buddhi Tamang on 3rd

November 2011

Performance in Tour: Mandala performing 'Curly Hair' in Kirtipur on 11th December

2011.

Premiere of Family Theatre: MINAP performing its play The Clever Boy and the

Demon in Kathmandu on 25th November 2011.

Phase 4: Production Process Workshop

Two separate Production Process Workshops were organized in

Kathmandu and Janakpur in November to finalize the production of

„Curly Hair‟ and „The Clever Boy and the Demon‟. Jacques S.

Matthiessen worked with the directors and actors on body language,

acting styles, direction and team work. Christian Q. Clausen helped the

scenographers with sets design, costumes, props and lighting. The

Cultural Consultant Renchin Yonjan interpreted both language and

techniques taught by the two Danish experts.

(Annex 4: Detail of Production Process Workshop eg. Schedule,

Outputs, Photographs and other details.)

Phase 5: Premiere and Performances

The two plays were premiered on 25th

November, 2011 at the Russian Centre of

Science and Culture, Kamal Pokhari,

Kathmandu on the occasion of the 2nd

Mandala International Youth Theatre Festival.

Prior to the premiere, two test performances

were conducted to check children‟s reaction

and understanding of the plays. Some

technical changes were made after the test performances. Pathshala Foundation, Baneshwor

provided a hall for rehearsals and test performance.

Mandala Theatre performed „Curly Hair‟ 15 times in 13 districts. MINAP performed „The Clever

Boy and the Demon‟ 14 times in 11 districts. The Family Theatre tour was carried out in

collaboration with local theatre groups.

The closing of Family Theatre was organized by

MINAP in Janakpur on December 31, 2011.

According to our tour report, the two plays were

watched by approximately 16000 viewers.

(Annexe 5: Detail of Family Theatre Tour, Tour

Report, List of places with dates and other details;

audience feedback; photos with captions

Annexe 6: Premiere & Closing details with

photographs.)

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Selected Venues for Family Theatre Tour

3. PROJECT OUTREACH

The two plays were performed in 27 districts of Nepal. It contributed to accessing new areas-

places and communities. It helped to create and promote an understanding of theatre. The

interactions following the performances helped to reaffirm that the project was on the right track

in terms of its aims and objectives. Audiences stated that the plays have become a must watch

for family and children regarding the focal point of the play and its simplicity in presentation.

Such appreciation contributed to developing the theatre team‟s confidence and belief in creative

productions. Previous plays advocating issues and rights were met with skepticism and disbelief

whilst the present

creative productions

received positive

acknowledgement.

When Mandala and

MINAP first arrived at

difference performance

locations, the

community people

ignored both groups

because they thought

condoms and other

social messages related

to health were being

promoted through the plays. They stated that they are all aware of such problems and schemes

and did not want to see any such boring plays. When they realized that the plays were family

based stories, they watched the performances till the very end. It was a new experience to watch

plays without messages. Their responses and photos included in the tour report show their

satisfaction.

Family Theatre has helped to promote a theatre movement for community people, who want

theatre as their family activity and as a source of entertainment for their children. Students,

theatre lovers, families and cultural activists met during the performances, expressed enthusiasm

to be involved and promote such activities in the future.

(Annexe 5: Family Theatre Tour Report)

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Video Documentation: Cameraperson

Rajeev Manandhar capturing the

interview with crew. Renchin Yonjan, the

Cultural Cunsultant and Sirjana Subba,

Director of Video Documentation, are

instructing.

4. DOCUMENTATION

Documentation is important to record activities, events, challenges,

achievements, findings and learning to help in building a sustainable

organization. Documentation records history of events and activities of

the organization. It also helps to maintain transparency and reduce the

possibility of mistakes in future events and activities. All five phases of

the project have been documented via still camera, video camera and as

textual reports. A 35 – 40 minutes long video of the program contains

key glimpses of the project activities that include workshops, meetings,

performances, audience feedbacks. Photographs of all the five phases

are captioned. The documented information will help Mandala and MINAP to develop and

expand its scope of activities. The information can be utilized as learning materials by both new

and regular artist members and help to reduce the possible mistakes in our further activities. The

lessons learned from the project throughout these documents will strengthen our capacity to do

better in future days.

5. MAJOR ACHIEVEMENTS, FINDINGS AND ANALYSIS

One of the major achievements gained through this program is the maturity in the artistic

experience of each member. Being a new group Mandala Theatre was seeking for opportunities

to learn whereas MINAP, as a well established group was trying to do something different.

Family Theatre has enabled both the creative and administrative teams to organize any program

with proper planning.

Major Findings and Analysis

The Journey from the project planning to closing performance was one of learning through

doing where theoretical teachings were followed by implementation. This contributed

significantly to the success of the project

1. Story Selection

While searching for stories with ethnic and universal value, the possibility of dramatizing many folk stories was found. It was found that stories representing particular cultures and society could be helpful in introducing that culture to others. Moreover, it creates awareness, understanding and respect among various cultures.

2. Target Audience

Family Theatre targeted all types of audience from various locations and diversified culture and language of Nepal. The performances focused on using more body language and actions than words so that the plays could be easily understood the diverse audiences.

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3. Properties for Plays

Materials used for making sets and props should be of same type. Use of natural materials to prepare handmade props and puppets generated curiosity and interest both amongst audiences and theatre groups. It is important that theatre groups take the time to explore and utilize locally available materials that contribute to establishing rapport with audiences from rural areas. Urban audiences too appreciate props

Management

The Production Plan ensured the success of the project.

It is important to be able to make timely decisions in order to ensure that production activities are not affected. The selection of the appropriate team is crucial to the success of the project. In this project, the actors were selected prior to the story development so that they could participate in the first workshop. This did not work out so one actor was replaced just before the second workshop. The second actor was replaced just 10 days before the premiere. Although this caused management difficulties, the decision contributed to the performance becoming much stronger.

Family Theatre successfully performed plays in more than 27 different locations of Nepal. The

process of coordination and mutual understanding with local theatre groups helped to make the

tour successful and eventually contributed to the development of a national theatre network.

Many theatre groups have assured their help and support for this type of theatre tours.

Students and children primarily seek entertainment or recreation from any piece of art rather

than moral lessons and messages. The tour helped to reach out to a new group of audience that

were interested in and had the potential to become artists, designers, directors, writers, and

pursue other creative fields in theatre.

6. KEY CHALLENGES

Challenges were faced at every step of the project.

6.1 Story Selection A key challenge faced was selection of the appropriate stories. Many stories - 'The Golden Comb', 'Journey into the heaven by Gonu Jha', 'Beard of Tax officer', 'Hettchakuppa', 'The Clever Boy' and 'Curly Hair' came to us. Choosing two out of these was a challenge as the stories were vital to the development of the plays. Most stories were too long and lacked universal theme and appeal. Writers from both groups were confused about the universality of their stories. Therefore, a lot of meetings and discussions were organized to select stories that would hold the interest of all types of audience.

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6.2 Development of selected stories The elements of dramaturgy were lacking in the selected stories that were based on folklore of two communities. Although the two stories originated from two different communities of Nepal, they had similar sequences and events. Developing the dramaturgy that retained its original flavor confused the writers. The writers who were well known independent writers found writing within the confinements of the project requirement difficult. Continued interactions, discussions and meetings with the Danish experts and the Cultural Consultant during the Story Development and Production Process Workshop, contributed to creating the required elements for the stories.

6.3 Scenography The Scenography team from Mandala was not able to design sets, costume, light and other requirements of play on schedule. Firstly, the scenographers required the final story that was only completed just before the second workshop in November and secondly because the scenography team was young and inexperienced. The Scenography team from MINAP completed their design and sets on schedule but found it difficult to move away from their traditional concepts as the team consisted of older experienced sets designers that had worked with MINAP for several years.

6.4 Management 6.4.1 Lack of experience and management skills created challenges in implementing the

production plan prepared during the first workshop in August. Both teams included responsibilities and jobs to be done over two important festivals – Dasain and Chhat. Although the members were all involved in the production planning, most of them decided to take a break for the festivals. The assignments were thus not completed on time for the second workshop. Valuable time that could have been used for learning new skills and techniques was lost in building props and sets at the second workshop.

6.4.2 Mandala Theater had to change two of its actors, after evaluating their work and progress. Durga B.K, an actor, was changed before the Production Process workshop as she was unable to follow and understand the director's instructions for the performance. Srijana Adhikari replaced Durga B.K. 15 days before the premiere Rajan Khatiwada, the director replaced Sudam Chhatkuli whose body language was not developing as required in the play.

6.4.3 Following the decision to replace Sudam Chhatkuli as lead actor by the then director

Rajan Khatiwada; the responsibility of Direction was transferred to Dayahang Rai, the team leader of Mandala Theatre. One person holding two responsibilities created a challenge for the entire team, especially the director. He was new to the artistic team and had to rediscover the perfect frame of the play as director. This created some pressure on the entire team.

6.4.4 A new tour coordinator had to be hired to replace the previous team leader Dayahang Rai. Sulakchhyan Bharati was hired as the tour coordinator as he had been a participant of the two workshops and helped with the sets construction. He was paid from the previous lead actor Sudam Chhatkuli's balance salary.

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6.5 Financial Management

6.5.1 Manadala Theatre being a new organization faced some problems in making payments by cheque for hall bookings and accommodation. The solution was to pay in cash that is not allowed by DANIDA and may become an issue during the Audit.

6.5.2 Family Theatre project budget focused on artistic priorities as it was designed and

budgeted in 2010 by Danish and Nepali theatre actors. Unfortunately insufficient consideration was made to include the possibility of rising prices for the cost of materials for costume, props, sets and technical personnel for translation, construction etc. Therefore in many situations both Mandala Theatre and MINAP felt the pressures of insufficient budgeting.

6.5.3 The practice of performing an open-air play without socio-political issues and message is

new in the theatre scenario of Nepal. Nepali audiences think that plays performed in open air spaces always carry issues and messages. The audiences always asked about the message of the play and initially found it difficult to accept that a play can be just for fun and entertainment.

6.6 The plays originated from two different cultures, Kirat and Maithili. The risk of acceptance by audiences from other cultural communities was present throughout the tour.

6.7 It was a challenge to set up the lightweight props in fields. Very often the sets had to be

held up by the actors and other team members to avoid the onslaught of strong winds. The solution was to try and find open-air locations with some kind of shelter.

6.8 Lack of electricity and load shedding was a challenge. A generator had to be hired to

overcome this problem. 6.9 Promoting the play to appropriate audiences was a challenge. Small children in the

audience sometimes became so terrified that they started crying. This situation made Mandala Theatre think again about the target audience for the play. Had the right group of children been invited to watch the plays? The feedback from other members of the audience was positive. Mandala Theatre realized that the target audiences were children from class 2–8 and in later performances ensured this information was provided to the local organizing partners whilst inviting children to the performances.

6.10 Lack of an appropriate venue for rehearsals was another major challenge for Mandala

Theatre. Some rehearsal halls were available but expensive. Mandala Theatre utilized its network to manage rehearsal space. On the other hand MINAP was better organized as it had its own office and open space.

6.11 The productions could have gone more efficiently and effectively if Mandala Theatre had

been more experienced in managing productions. Most of the team members were actors and creative people lacking skills in managing productions and events. MINAP was more experienced but still lacked organizational skills. Decisions were delayed because top-level management made most of the decisions.

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Despite the many challenges, Mandala and MINAP were successful in developing two plays for

children and performing them before a diverse group of people of all ages. Both plays were

appreciated for the simplicity and strength of the stories, sets and performance.

7. LESSONS LEARNT

Mandala Theatre and MINAP have produced and staged many plays and programs. However,

both groups lacked the skills to plan the production and promotion. Proper planning provides

the guideline for success. Family Theatre taught MINAP & Mandala to work according to a plan.

The production plan prepared during the Story Development and Production Planning

Workshop was utilized to plan each and every activity. The importance of documentation was

also realized during the project period. Documentation provides proof as well as prompt

information regarding the accomplished tasks.

The plays directed and produced till now were the point of view of the director himself and the

audience were compelled to understand it on the basis of the language used in performance. The

Family Theatre project has helped MINAP & Mandala to understand that considering the target

audience, their age and expectations are major things to be kept in mind while producing a play.

Both groups learnt that mutual cooperation and support from each team member is key to

success. Mandala realized the necessity of having its own space for trainings and rehearsals.

8. CONCLUSION

Family Theatre received an overwhelming response and was widely appreciated by communities,

families and children. It provided them an opportunity to watch plays with fun and family

environment. The program has provided us the knowledge and energy to produce simple and

aesthetic plays that respects the feelings and understandings of children.

Stories representing a particular culture and society can be helpful in introducing and creating

awareness, understanding and respect among various cultures. Production planning is important

to complete any program successfully. The necessity to produce theatrical activities that focus on

interest and understandings of children and families are seen as future possibilities. Artistic works

like theatre productions, which are only city people and intellect oriented, have to consider the

community people and aged base audiences while producing any program.

In conclusion, Family theatre helped Mandala and MINAP to learn new skills, tools and

techniques related to producing plays for families. The trainings and entire process of creation

helped to build a stronger bond between members of the two theatre groups.

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9. RECOMMENDATIONS

There are still many difficulties in making theatre accessible to people especially outside

Kathmandu valley. Many communities are not aware of updated and advanced scopes of the art

world. They still consider artwork as a means to proliferate socio-politic issues and messages.

They have not yet realized how art and culture can be represented not only in movies but also

live on stage. During the tour, some of the audience from different locations stated that they

were glad to have experienced their first theatre performance. This indicates the current status of

theatre outside valley. Therefore, there is a wide scope and need for theatre development and

promotion of programs similar to family theatre.

Youth and children in the audiences were encouraged by the performances. They were happy to

see simple and cultural stories in the form of visual art in their yards. Many theatre groups were

inspired to follow the path set by Family Theatre. Various programs can help to identify

potential talent for theatre. Programs like „Theatre for Students‟ would be an appropriate

movement to identify and train students in different aspects of theatre production.

Mandala and MINAP faced many challenges in managing finances. It was not always possible to

make payments through cheques. Many times, especially during the tour, the two theatre groups

were forced to make cash payments. The auditors do not accept this. The rule of asking

quotations for hiring or buying anything is also difficult. For transportation we had to hire local

bus where we cannot ask quotations. Therefore, it would be easier if some changes in these rules

could be made. It would be easier to accomplish the task if DANIDA changes its financial rule

of making only cheque payments. It also should consider the case of asking for quotations for all

purchases.

Family Theatre has provided a learning opportunity for Nepali theatre practitioners. It has not

only made Mandala Theatre and MINAP understand the necessity of production planning but

also helped to develop dramaturgy. There is a strong need for good playwrights in Nepal. This

kind of training and workshop is necessary in upcoming days to proliferate Nepali theatre realm.

So, the recommendation is that some trainings and workshops regarding the screenwriting

should be conducted.

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Annexe 1: Family Theatre Project Actitivities May – December 2011

MONTH ACTIVITY DETAILS REMARKS

May -

Aug 2011

Thought Development

Process

Nepali teams work with

Danish partners

Online exchange

August

15 – 23

2011

Story Development and

Production Planning

Workshop in Kathmandu

Developed stories into two

scripts

Danish Experts:

1. Jacques Mathiesen

2. Christian Q. Clausen

Cultural Consultant

Renchin Yonjan

2 production plans by Mandala

& MINAP

Aug – Oct

2011

Pre Production

Online communication

between Danish experts &

Mandala & MINAP

Mandala coordination

Scenography research, design and

development

Before Dasain festival

Oct 2011 Production Rehearsals by Mandala & MINAP

Oct 31 Danish experts arrive in Kathmandu Jacques Matthissen

Christian Q. Clausen

Nov 1 – 5

Production Workshop in

Kathmandu

Acting Rehearsals Jacques Matthissen

Properties designed & built Christian Clausen with Cultural

Consultant

Nov 6 Team travel to Janakpur

Nov 7 - 11

Production Workshop in

Janakpur

Acting Rehearsals Jacques Matthissen

Properties designed & built Christian Clausen with Cultural

Consultant

Nov 8 Test Performance Mandala performs Curly Hair Review by Jacques & Christian

Lead actor change recommended

Nov 25 Premiere in Kathmandu Curly Hair

The Clever Boy & The Demon

Opening of International Youth

Theatre Festival

Nov 27 –

Dec 30

Family Theatre tours Nepal 27 performances around Nepal Mandala & MINAP

Dec 31 Closing Performance in

Janakpur

mid Jan Review meeting with the

two production partners

Analyze and document the

project & process

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Annex-2: Final Stories

2.1 Mandala Theatre story 'Curly Hair'

Tayama is weaving and singing in a rough voice. Hetchhakuppa, being alert, is moving his eyes rapidly as his sister forbids him to commit any mistake. A butterfly attracts the attention of Hetchhakuppa and he falls on the weaving machine while following the butterfly. Tayama beats him and sends him to sell cloth. Khiyama enters singing in a sweet and melodious voice. She is combing her hair.

Khiyama plaits her hair whilst Tayama continues to weave. Hetchhakuppa enters carrying a pack. He hides the pack and removes the turban from his head. His hair is curly and unmanaged. Hetchhakuppa screams in pain as Khiyama tries to comb his hair. The comb sticks in between Hetchhakuppa's hair. Suddenly they hear someone roaring. It is Hongrayo.

Hongrayo is bald and has a frightening appearance. He has come in search of his bag of eggs that have special powers. Hetchhakuppa hides behind the weaving machine. Hongrayo finds Khiyama beautiful so he tries to seduce her. Khiyama, being frightened, also hides with Hetchhakuppa. Hongrayo, intending to catch Khiyama, takes his hand behind the weaving machine and pulls someone. Unfortuantely Hongrayo has grabbed Hetchhakuppa by the hair. Hongrayo is scared of curly hair so he slaps Hetchhakuppa and throws him away. He pulls Khiyama and takes her with him saying Tayama should return his bag of eggs to get her sister back.

Tayama beats Hetchhakuppa in frustration and asks Hetchhakuppa if he has the bag of eggs. Hetchhakuppa gives her the bag but takes one egg and hides it in his pocket. Tayama leaves with the bag to exchange it for her sister. Hetchhakuppa is sad when his sisters do not return. He is sitting in a dejected mood when the butterfly comes again. She flies around Hetchhakuppa and the weaving machine as if gesturing to follow her. Hetchhakuppa follows the butterfly as the butterfly leads him towards the jungle.

The Bumble Bee appears. The butterfly flees from t there as she scares with the humble bee. The humble bee tries to attack Hetchhakuppa. In reaction, Hetchhakuppa hits the humble bee. The humble bee becomes wounded. Hetchhakuppa feels guilty of being so cruel to the humble bee. He himself cures the humble bee. He ties a bandage on the wound of humble bee by his clothes. The humble bee feels good. Both of them embrace. Now, the humble bee leads the way. Hetchhakuppa follows him.

On the way, there comes an eagle. The eagle swallows the humble bee. It makes Hetchhakuppa angry. He fights with the eagle. The tussle ends when Hetchhakuppa breaks the wings of eagle. Hetchhakuppa again feels sad and shows his pity towards the wounded eagle. He, in order to recover the wound of eagle, ties a bandage on the wound by using his clothes. The eagle flies. Hetchhakuppa follows him.

Hetchhakuppa now encounters with a tiger. The tiger roars and attacks Hetchhakuppa. Meanwhile, the butterfly comes and disturbs the tiger by dancing in front of tiger's eyes. Hetchhakuppa picks out the egg from his pocket and hits the tiger with it. The liquid of egg creates a river as that was a magical egg. The confused tiger doesn't see the river in his aggressive mood and drowns into it.

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Hetchhakuppa finds another man asking for help inside the river. He is almost drowned. Hetchhakuppa gives him a side of his clothes. The man, by the help of clothes, comes outside. He becomes thankful to Hetchhakuppa and gives him a bottle of alcohol. He also shows him the way to Hongrayo's house.

Hetchhakuppa reaches Hongrayo's house. He finds the doors closed there. He tries to open it but fails. Hetchhakuppa collects all his energy. He ties his head with a turban. Then he hits the door with the great force. The door opens now.

He meets with Hongrayo inside the house. There occurs a fight between them. Hongrayo tries to pull Hetchhakuppa by the turban. It makes the turban untie. Hongrayo frightens with the curly and unmanaged hair of Hetchhakuppa. He arrests him and imprisons him with his both sisters in a same cage. Hetchhakuppa embraces with his sisters. They all start to cry as they are together after a long time. Hongrayo becomes happier as he has succeeded to get all his enemies in his prison. He starts to drink alcohol.

Hetchhakuppa picks up the bottle from his waist bag. He mixes a piece of his curly hair in the bottle of alcohol. He pretends to drink the alcohol by himself. Hongrayo sees it and snatches the bottle from Hetchhakuppa. He drinks the alcohol. As he drinks it, the piece of Hetchhakuppa's hair sticks inside the throat of Hongrayo. He becomes faint. Hetchhakuppa sees the key of prison hanging on Hongrayo's waist. He stretches his body and picks up the key. He releases all his sisters and himself too. They all become happier again. They start singing and dancing all together.

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2.2 MINAP Story 'The Clever Boy and the Demon'

Chhatulal's Home

Chhatulal is playing Pachisi,a tactical game .His mother is feeding their cattle. She starts to milk

the cow .she scolds Chhatulal for wasting his time in plays and games. She leaves the house in

order to sell the milk ordering Chhatulal to take care of cow.

Chhatulal's Home

There comes storm (tornado). A monster appears inside that tornado.

He heads towards the cow. The cow starts to cry due to the fear. Chhatulal tries to fight with the

monster and becomes defeated. He becomes faint due to the attack of monster. The monster

takes away the cow with him.

Chhatulal's Home

The mother comes. She finds her son in an unconscious mode. She does not find cow in the

shed. She takes back her son's conscience. She asks about the cow. Chhatulal details the whole

incidents. The mother becomes so sad and aggressive after knowing the facts. Chhatulal can't

tolerate his mother's tears .He vows to get revenge with the monster by killing him anyway.

Jungle

Chhatulal and his friend are practicing the fighting art with bows and arrows. After a long

practice, they become tired by hunger and thirst. They hear a bird's twittering far away. With the

purpose to hunt the bird, they move towards the place from where the bird is twittering.

Jungle: A tree of Jamunas (a kind of fruit)

A parrot is sitting on a branch of the tree. Chhatulal targets the parrot by his arrow. The parrot

pleads him not to kill him. Chhatulal makes a condition that if the bird will bring them some

Jamunass, he will let her. But the bird doesn't give them any of Jamunass. Now being annoyed,

Chhatulal attacks the bird with an arrow. Meanwhile, a girl falls down from the tree.

The friend of Chhatulal flees from there as he frightens with the incident. Chhatulal tries to get

back the girl's conscience. The girl attacks at first when she wakes up. Chhatulal remains calm.

He gradually gets success to make the girl, too, calm. A kind of mild relationship develops

among them. Chhatulal asks the girl about the monster and his residence. Instead of giving the

answer the girl escapes from there. Chhatulal follows her.

The girl enters into a cave. The monster comes out from the cave saying; 'Human smell', 'Human

smell'. Chhatulal hides himself. Finding no one outside, the monster goes inside. Chhatulal

observes the outward location. He sees a well there.

Chhatulal goes in front of the cave's door. He finds an eagle there as the guard. A tussle occurs

there. Chhatulal kills the eagle and goes inside. He finds his cow and the girl inside the cave.

Both of them were imprisoned in two separate cages. The cow starts to cry after seeing the boy.

Chhatulal tries to break the cage. Meanwhile, the monster arrives. A tussle occurs again. The

monster defeats Chhatulal and imprisons him, too.

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Chhatulal talks with the girl. The girl unravels all the mysteries of that monster. Chhatulal knows

that the monster, too, is interested in Pachisi game. Chhatulal starts playing Pachisi solely inside

the cage. The monster arrives there and wishes to play together. Chhatulal denies at first. He puts

forward a condition that if the monster wants t play Pachisi with him, the venue should be

decided by Chhatulal. The monster agrees.

Chhatulal takes the monster near the well. He throws the dice cube of Pachisi inside the well and,

being excited, starts to scream. He declares that he has won the game. The monster unbelieving

the declaration of Chhatulal goes near the well and sees inside. Meanwhile, Chhatulal pushes the

monster into the well. The monster dies. Chhatulal releases all the captives from the monster's

cave.

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Annex-3: Detail of the Story Development & Production Planning Workshop

Story Development & Production Planning Workshop‟s list of participants, daily schedule, reports, photos, media coverage and production plan. The workshop continued from 16th to 21st August 2011 at World Trade Center, Tripureshwor, Kathmandu. 4.1 List of Participants

S.N. Name of Participants Organization Contact Number

1 Dayahang Rai Mandala Theatre 9841261295

2 Sirjana Subba Mandala Theatre 984153366

3 Buddhi Tamang Mandala Theatre 9841185625

4 Bijay Baral Mandala Theatre 9841043759

5 Pavita Rai Mandala Theatre 01-5546977

6 Sudam Chhatkuli Mandala Theatre 9808364371

7 Durga B.K Mandala Theatre 9849336737

8 Rajan Khatiwada Mandala Theatre 9851044977

9 Umesh Tamang Mandala Theatre 9841144056

10 Bikash Joshi Mandala Theatre 9849024252

11 Najir Hussain Mandala Theatre 9813274332

12 Suraj Yadav Mandala Theatre 9807846782

13 Som Nath Khanal Mandala Theatre 9849132746

14 Sarmila Maharjan Mandala Theatre 9841427556

15 Srijana Adhikari Mandala Theatre 9849224847

16 Rajan Mukarung Mandala Theatre 9813256159

17 Nabina Aryal Mandala Theatre 9841268130

18 Suraj Adhikari Mandala Theatre 9813244306

19 Soma Lama Mandala Theatre 9851112333

20 Rajiv Manandhar Mandala Theatre 9849071059

21 Ashish Maharjan Mandala Theatre 9803965596

22 Reena Rimal MINAP 9844117833

23 Priyanka Jha MINAP 9814830737

24 Pramesh jha MINAP 9844021492

25 Rabindra Jha MINAP 9844125922

26 Pravesh Mallick MINAP 9804817479

27 Prakash Premi MINAP 9804841552

28 Ramasish Thakur MINAP 9804858567

29 Anil Chandra Jha MINAP 9844022856

30 Sunil Mallick MINAP 9854021419

31 Neha Priyadarshini MINAP 9814885965

32 Ramesh Ranjan Jha MINAP 9854024143

33 Asha Kaji Mahandar Sonic 9841135011

34 Christian Q Clausen Denmark 9818472178

35 Jacques Matthiessen Denmark 9818472183

36 Sonu Jayanti Kalalaya 9842282133

37 Renchin Yonjan Consultant 9851054037

38 Prakash Ranjit Lasanaa 9841811267

39 Asmina Ranjit Lasanaa 9851026155

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4.2 Workshop Schedule and Report

Day 1: Schedule

Time Activity Remarks

09:00 Registration

09:05 – 09:15 Warm up Physical warm up

09:50 -10:00 Briefing about the workshop

What will be the workshop all about

10:00 – 10:45 Production Planning Checklist

10:45 – 11:00 Tea Break

11:00 – 11:30 Framework for the Production

Budget, Participants, Physical Conditions for the play

11:30 – 12:15 Activity for the participants To prepare their own production plan

12:40- 01:25 Lunch Break

01:20 - 02:25 Activity Continued

02:25 – 03:05 Presentation Production plan for Mandala Theatre and MINAP

Report

The workshop started with the Registration of all the participants of the workshop. Physical warm up was the first activity taught by Jacques. The first exercise was the exercise of balancing the body which was followed by other exercise for leg and stretching. As all the participants were warmed up, the workshop started with the briefing of the workshop: What we will be doing in the workshop for the day.

Warm up

Setting up the framework of production

Production checklist

Production planning in groups Lunch Break

Dramaturgy

Small story At the end of workshop on Sunday, 16th August, 2011 synopsis for following things should be ready

Examples of the music, set design, costume

Proposal for acting style

Scene for each play

Revision for production plan

Plan next meeting

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The session started with the explanation of the Production Checklist. Production Checklist:

Ultimate economic responsibility – economic responsibility of each in terms of monetary matters

Ultimate artistic responsibility – responsibility of each member of the team, everyone should be clear about their responsibility , no doubling of the responsibility

Artistic Production:

Producer

Responsible of production cost

Author: Idea/ Synopsis/Screen play

Artistic Consultant

Dramaturge- looking for the large source of the information Selection of Production Team:

Director – should look for the aptitude of others

Set Designer- should be creative enough

Costume Designer

Composer

Actors

Lighting Designer – sometimes can also be the director, set designer

Sound Designer

Puppets Production Checklist:

Production Manger

Technician Building

Tailor

Music: Musicians

Choreographer

Stage Fight Teacher

Current Economy

Book Keeper

Fund Raises

Public Relation Responsible – web designer

Photo

Poster

Programs

Tickets

Props Manager

Stage Manager

Installation on Tour

Tour Leader

Driver

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Framework for the production

Budget

Participants

Physical Conditions- where the work has to be done should be clear. For all three things listed above there should be a 3 step planning

- Pre-production planning

- Production planning

- Post -production planning Pre planning of the program is very essential. Pre- planning includes the planning of the budget, participants, and physical conditions in advance. The planning in organization makes the working very convenient. In case of tour every small things are to be arranged, like transportation in every places, portable materials, etc. In the drama, the idea which is with everyone can be shared with each other and be developed. The planning of the activity for our own project is very essential. The counting down of the date was the method used. The example for the planning of costume design: The costume has to be prepared in advance. The custom has to be ready before 2 weeks of the premier. For that the tailoring of it has to be done which will take time. The designing is important which is based on the characters of the story. So it is directly affected by the work of story writer. Till the story is not ready, the design of costume will not start. After the preparation, the planning for touring has also to be done. As we have to use that costume for 2 -3 weeks the condition of it has also to be considered. In case of light: how many light to take, what are the places we need light, the testing of light in accordance with the time and conditions of the show should be a matter of planning. As the importance of planning was discussed, activity for the participants was given.

- The 2 teams Mandala theatre and MINAP was divided into 2 groups to prepare a production plan for their individual organization

- 2 teams made their plan on the basis of the production checklist discussed above.

- As the planning was ready, both the organization made their individual presentation. There was lots of confusion in the planning made. Therefore, many suggestions were given.

Make all the planning more critically

The time given to the writer is short so need to prepare a synopsis which will be agreed by all the members. After the synopsis, others can start their work. But the story can be developed later without changing the synopsis.

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Day 2: Schedule

Time Activity Remarks

08:50 Registration

09:10 – 09:25 Warm up

09:25 – 10:30 Slapstick Practice

10:30 – 10:45 Tea Break

10:45 – 12:10 Explanation of children theatre

12:10 – 12:20 Activity of making a 5 minute play

12:20 Lunch Break

1: 10 – 02:10 Activity Continued

2:10 – 03:00 Presentation

Report Warm up:

Started with the exercises taught on 16th August. Slap Stick:

It is the act that can be made as the entertainment part in the play. It is a kind of slap but without touching the other person. It is an act of faith. Here each other should have confidence that they will not hit other person.

First only the action was done but later that action was combined with reaction.

As it is a theatre, the audience has to see it and believe it.

Then the small parts of action and reactions are combined and made a chain of it.

The action and reaction should be in good timing.

The drama should be understood by all audience, though the actors speak or not. The message should be conveyed with the help of actions also.

Brief explanation of children theatre:

Children learn from what we do.

We have to respect children and understand their thinking.

In Denmark, children are treated well and prepared entertainment for them as per their thinking.

The emotion of children and adult are same but with different thinking according to their experience.

The play should be prepared according to the age of the children. In this the physical condition should be clearly analyzed- area where the play will be performed, the distance and also the time factor. For children the play does not exceed 30 minutes in Denmark

There is a separate drama organization in Denmark for children. They organize a children theatre festival every year which is considered as world greatest festival.

During 60‟s all drama workers used to work together in same place. But now the situation is not the same.

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The brochures prepared for theatre festival going to be held in Denmark was shown which

contained the name of the drama and the age group to which it is focused. In Denmark there is

a rule which says, each and every child has to see at least one drama. Government also provides

help for this act.

Today every play is based on artistic idea not the moral lesson. In the physical conditions, the age group of audience, cost of the play, number of audience, etc. is to be considered. General process of story telling It is a circular process. Can start from anywhere but the process goes in a circular form. Linear Story Telling It is a straight line where process goes one by one. We cannot return from one stage to the previous step.

THE MOTOR CAR OF THE DRAMA: Desire- Obstacles- Plan – Living out the plan – Ending (Resolving)

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Linear Dramaturge

Presentation – description – Increasing Conflict- conclusion

All these steps were explained with the help of an example of marrying a princess. The initial step is the desire to marry the princess. To marry a princess is not easy. There arise many obstacles. Then he plans to buy a horse. When he buys a horse he has no option to return so this becomes the point of no return. So he goes towards his destination where he faces problems that he overcomes. Then he marries a princess and lives happily ever after.

The graph given is not a strict rule to be followed. It is just a guideline. There can be changes. Every activity does not have a fixed result. The first part should be impressive. The light and sound should also be planned according to the graph. It should be balanced with other aspect of the drama. Not only in the whole drama but in an individual scene also ups and downs can be created but by making a balance. There should be consistency in language, expressions, situation, etc. The play should go on picking up as it proceeds. Introduction of the character should be reflected in climax or on the later part of the play. In case of children theatre the concept of flash back is not so useful. Things to be considered Time & Place

TIME PLACE

Real Time Performance time The Theatre Physical surrounding of the play

Historical time Time shown in the play The play's universe The kind of play eg fairytale

Experienced time Time change in the play Location Place shown in the play

Methodology Making a 5 minute play

The actors of 2 team (Mandala and MINAP) were divided into 2 group where two members were from Mandala and two from MINAP

The team of actors were to prepare a story of 5 minutes and perform

The team leader, director, writer, set designer, costume were separated as Mandala and MINAP who were to write a story and read it out.

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Performance started

First performance was by the group of team leaders of Mandala Theatre. It started with a famous Nepali song followed by their story telling.

The 1st team of the actors was the next to perform

The 2nd Team of team leaders of MINAP told their story in both Nepali and English.

The 2nd team of actors from MINAP perform the play.

Day 3: Schedule

Time Activity Remarks

8:45 Registration

9:10 – 9:55 Warm up

Program for the Day

10:00 – 10:15 Tea Break

10:15 – 12:00

Scenography Workshop Christian Clausen

Actors Workshop Jacques

12:00 – 02:00

Scenographers Workshop Sketching & Creating Models

Actors Workshop Developing a 5 minute Clown Act

Story Development Christian, Jacque and Renchin Yonjan work with writers

02:00 – 05:00 Story Development Writers continue with developing stories

Actors and Scenographers leave

Report Warm up

Started with regular exercise Schedule for the day

Set Design Actors Writers

Warm up Warm up Warm up

Design Process Clown Writing

Assignment Assignment

Lunch

Work Rehearsal Meeting

The participants were divided into 2 groups

One group was of actors and musicians where as the other group was of team leaders, directors, set designers, and remaining teams.

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In the Actors and musician‟s room:

They were introduced about the clown act. It is the act done for entertainment. In this act there are no dialogues.

Then they were taught the acting of head bang in the wall which was followed by the act of head bang on the table due to slip of leg when we try to climb on it.

The slapstick act taught on the previous day was practiced again.

Then the actors were made to do a clown act being in a group of two on the spot where Jacques guided them.

At last, the actors of Mandala Theatre and MINAP were divided into 2 groups according to their organization and the activity to prepare a 5 minutes clown act was given to them. They could also use music in their act with the help of musician.

In Scenography room: All of them were taught regarding the planning and designing of the sets, costume and props.

The Set Designers Work Preparatory work: Timetable: Planned backwards from the premiere date containing:

1. Rehearsal plan for actors 2. Deadlines for assignments 3. Planning practical work on stage 4. Planning workshops

BUDGET: Performance's budget for scenography and costumes and technical equipment CONTRACT: Agreement on scenographers working conditions:

TOR - participation in practical work

pay

deadlines for assignments

MANUSCRIPT READING 1

Experience reading: Reading or recitation of the text without prejudice in order to form your own pictures.

Experience reading with sketching: Reading of the text while sketching the immediate images that come into mind.

Scene Summary: Division of the text in scenes with page numbers and notes.

Props list: Props list of all the things that occur in the text with page numbers and scene numbers

Cast: Overview of all characters and explanation of their relationship.

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MANUSCRIPT READING 2

Research 1: Research on the historical, political, religious and factual issues in the play and the play's contemporary Research on the author and his contemporary.

Analysis and interpretation: Identifying the play´s plot and dramaturgical process using different analytical models. This also includes the characters interrelationship

Overall sequence of images: Sketch - a picture of each scene

Matching with director 1: Meeting with the director, presentation of preliminary notes, and adjustment by mutual agreement

IDEA - CONCEPT FORMULATION:

Research 2

Research on venues physical conditions,

Research on music, literature, film etc.

Research on specific topics of the play. MAKING AN IMAGE BANK

1. Sketching: Colored drawings of each scene

2. Sketch Model in scale: Model in 1:20 or 1:10 in cardboard paper, wood, etc. with model humans in the same scale

3. Costume Sketches: Drawings of all characters in the play with examples of their individual characteristics

4. Lighting concept: Experiments with scalelight, flashlights or similar with the use of color filters. Colored drawings with suggestions for light requirements.

5. Dramatic Universe: Overview of the dramatic universe in order to see if it is coherent

6. Matching with director 2: Meeting with director Viewing the model, costume sketches and examples of lighting.

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DEFINITION OF CONCEPT:

Research 3: Experiments with 1:1 materials and technical solutions: Finance - budgeting Final determination of the dramatic universe: Including realistic proposals for all scenic solutions

Presentation Model: Model in scale with the colors, surfaces, textures and the main characters in 3d proposal for key scenes and scene changes in the play

Matching with director 3: Meeting with the director, actors and technical staff: Viewing the presentation model, costume sketches and examples of lighting.

PRODUCTION:

Props production overview: Review of where and how the individual props must be made

Drawings for construction: Ground plan, elevation/section, perspective of the scenery and items to be produced to the play.

Costume drawings / material samples: Colored drawings of all costumes with details and material samples at the individual costumes

Agreements with the workshops: Timetable for completion of decorations and props

OVERVIEW OF THE PRODUCTION PROCESS:

Making sure everything is made according to plan and design Sketching Activity In 10 Minutes: 1 Male Evil- Kind 10 sketches on each 1 Female Kind- Evil 10 sketches on each 1. 10 Scale Model Human (Paper-tape-color) (20 min) 2. 10 Scale Room for opposite character (30 min) Groups of 2 persons Scale - 1:10 i.e: 170cm= 17 cm

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Day 4: Schedule

Time Activity Remarks

08:45 Registration

09:00 – 09:25 Warm up

09:30 – 10:10 Presentation of short clown act The activity given to actors on 18th Aug was presented

10:15 -10:40 Presentation of scenography work Scenography activity

10:40 – 11:00 Tea Break

11:00 – 11:30

Actors workshop

Scenography workshop

11:30 – 12:40

Scenography workshop Activity given to participants

Actors workshop Improving the clown act

Meeting with writers Story development

12:40 – 01:30 Lunch Break

01:30 – 01:45 Re-presentation of the clown act After certain improvements

01:45 – 02:05 Presentation of scenography work

02:05 – 03:00 Story telling by writer and director MINAP and Mandala in a separate room

Report: Actors‟ team and Scenography team made the presentation of their activity of the previous day. In the actors act: - There were many activities and some of the scenes were not appropriate as per the timing. Therefore, they were given time to remake it and present after lunch. In the scenography presentation Firstly, Jacques was made to divide the models prepared on the previous day according to their appearance perceived by him. Then various comments were made on it.

Most of the models made were of kind female and evil male which is most popular.

The models should be universally understood because we have to consider what the audience will perceive.

The most common symbols are considered to be used

One of the evil characters was quite confusing because of the color used in it. The color used was a happy/ good color

So while making a character, it should be powerful and understood universally.

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WORKING WITH OPPOSITES

1. Make a list of opposite qualities

Physical

Tall – short

Fast – Slow

Hard – Soft

Psychological

Love – Hate

Anger – Joy

Sociological

Rich – Poor

Big City – Village

2. Make sketches of each qualities

3. Decide qualities for your figure or room

4. Apply the qualities to your figure or room

Two from each category and magnify them.

After lunch: First, the actors performed their clown act after improvements. Then, the secnography teams also presented their activity given for the day. And the writers had a story development meeting with Jacques, Christian and Renchin Yonjan. Day 5: Schedule

Time Activity Remarks

08:50 Registration

09:05 – 09:15 Briefing of the days‟ work

09:15 – 10:00

Activity for the actors Work on their own story and make a play

Activity for scenography team

Work on the scene, cast, props, equipments, etc that are necessary for the play

10:00 – 10:15 Tea Break

10:15 – 12:00

Actors workshop Activity continued Scenography workshop

12:00 – 12:15 Story telling Final story told by writer to Mandala team

12:30 – 01:20 Lunch Break

01:20 – 01:25 Showed the drama „Bathi Rani‟

But due to lack of the element Jacques and Christian wanted show, it was stopped

01:25 – 03:00 Activity continued

Report

The workshop started with briefing regarding the days‟ work.

Today everyone will be working on their own project‟s story. The actors and the directors are working on the performance of the play. A rough play of the story was made along with deciding the characters to be played by each actor.

The other members, scenography team are given a task to make a list of all scenes in the play, props required, cast and their characters, all necessary equipments for the play including the materials needed in the tour.

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Conditions to prepare a play

1. Scenes:

▪ Locations 4-5

▪ Scene (Important places in story) 10-11

2. Props

▪ List of props with no. of scenes

3. Cast

▪ Actors list

▪ Characters they will play

▪ Characters Relation

4. Stationary

▪ Transportation for tour

▪ Light

▪ Sound

▪ Transportation

Mandala Theatre‟s writer, Rajan Mukarung, dictated the story to the actors and other team members of Mandala Theatre. Jacques and Christian showed video of the play „Bathi Rani‟. But as the video was not captured from the audience side and did not contain things that Jacques and Christian wanted to show, the play was not continued. They wanted to show the making of stage using less materials and the way of changing sets on stage. So, the activities given to the participants continued. Day 6: Schedule

Time Activity Remarks

08:45 Registration

09:05 – 09:15 Warm up Self warm up

09:15 – 10:30

Rehearsal by actors Work on their own story and make a play

Activity for scenography team

10:30 – 10:50 Tea Break

10:50 – 12:10 Activity continued for both the teams

12:10 – 12:50 Performance by the actors Both Mandala and MINAP team on their stories

12:50 – 01:30 Lunch Break

01:30 – 01:45 Sample sets prepared As the result of the activity given

01:45 – 03:25 Drama performed by actors 2 times

03:25 – 03:45 Tea Break

03:45 – 04:30 Last session of the workshop Jacques and Christian

04:30 – 04:45 Certificate distribution

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Media Coverage:

Attached here are the newspaper cuttings in which the activities and photo of Story Development and Production Process Workshop were covered.

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Annex-4: Details of Production Process Workshop

Production Process Workshop‟s list of participants, daily schedule, reports, photos, media

coverage, designs and sketches. Two separate workshops were continued in Kathmandu from

1st-6th November and in Janakpur from 7th-12th November.

Workshop Schedule; Designs and sketches, photographs

Day 1: Schedule

Time Activity Remarks

09:00 Registration

09:30- 10:05 Meeting with the whole team Regarding the day‟s work

10:10- 10:30 Meeting of Jacques with actors

10:20 – 10:30 Meeting of Christian with scenography team

10:30 - 10:50 Tea Break

10:50 – 12:05

Working on the set design

Working on screenplay

12:05 – 12:45 Lunch Break

12:50 – 01:30 Work on screenplay continued

01:30 – 04:00 Rehearsal by the actors

Report:

The workshop started with the meeting between all the team members, Jacques and Christian. In the meeting Jacques and Christian discussed on the working for the day and workshop.

Jacques and Christian will be working with 2 different groups of actor and scenography.

All the props and set materials were arranged after yesterday‟s discussion. Those materials were shown to Jacques and Christian.

Some of the elements of the play had to be changed in order to make the play simple and easy. Today, writer will be staying with the actors and director so that if any new ideas come during the work, he can develop in writing.

In the story, the egg of Hongrayio will be removed because it is creating lots of confusion. The magic of the hair has also to be made clear. The main origin of the story has to be known and made accordingly so that the theme of the story will not be affected.

The story prevailing in Nepali culture was discussed and shared with Jacques and Christian. Little parts of the cultural story can be kept in the play. The original story should be understood by everyone in the team. As we don‟t have more time with us, everyone decided to go back to the previous story and work on it with small improvements.

In case of set, the situation of the scene like inside and outside of the house, jungle, etc has to be made clear to the audience. It should not create any confusion.

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During the meeting of Jacques with actors the discussion on what will be the story and how to work with the screenplay was done.

During the meeting of Christian with scenography team, there was a discussion regarding the props and their use in the play. The act with the props should be visible, clearly understood by the audience.

After the tea break, the work on set design started. Actors were asked to start from the beginning and forget the work done before.

The screenplay was developed scene by scene with new actions. The set design and the way of changing the set during the play were worked on.

The screenplay was changed from the beginning. In the opening scene, small brother comes out of the house and starts taking care of the flowers in front of the house, where the butterfly comes. The big sister comes and gives him some work to do. Then the elder sister asks small sister to bring the cloths that they have woven till now. The small sister and the boy are told to collect the threads and manage it together. While working they keep on teasing each other. At that moment, Hongrayo comes to their home to take the cloths which he gave them to weave. As there were not the enough cloths he asked for, he takes the sisters away and beats the boy. When the boy wakes up he won‟t see his sisters. Then again the butterfly comes. The boy starts playing with that butterfly. All of a sudden the bumble bee comes and attacks the butterfly. When butterfly is dead the boy hits the bee and the bee will be injured. The boy comes to help the bee and ties his hair in the wings of the bee.

The story was developed till this scene.

Day 2: Schedule

Time Activity Remarks

08:50 Registration

09:10 – 09:20 Warm up

09:30 – 09:45 Performance the work taught yesterday

09:55 – 10:15 Break for actors

Meeting with technical team With Jacques and Christian

10:15 – 10:30 Tea Break

10:30 – 12:15

Actors developed the screenplay further

Scenography team went for collection of materials

12:15 – 01:00 Lunch Break

01:00 – 03:30 Activity with actors continued

Collection of materials

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Report:

The day started with warm up exercise by the actors. After the warm up, there was a performance of the play till the scene where the actors were taught the day before. Jacques gave some comments on the performance. The work was good. Tried well but some improvements are still required.

The technical/ scenography team had a meeting with Jacques and Christian. In the meeting the responsibilities were divided as decided before and told to work on their respective field, like the set designers will work on sets only, the costume designer will work on costume fabrics and design where as the props designer will work on the preparation of the props.

The responsibility was divided as follows:

1. Sets – Bijay Baral

Bamboo

Wood

String 2. Props – Pavita Rai

Tiger mask

Butterfly

Bees

Bird 3. Costume – Najir Hussain

Black Costume for 3 actors

Fabric collection for all 4 actors according to their characters

Design and stitching 4. Light – Umesh Tamang

Light stands

Set frames/ wings 5. Music – Prabin Khatiwada

Collect appropriate music

Edit sounds

Arrange final music

Jacques helped in the further development of the screenplay. Today the development of the screenplay was from the scene we ended yesterday. When the boy helps the bee, bee will feel better and they become friends. When they are sitting together the bird comes and attacks the bee. The bee will be eaten by the bird. Then there arises a situation of fight between the bird and the boy. The boy hits the bird and bird gets injured. Seeing the pain of the bird, the boy helps the bird and tied his hair in the wound of the bird too. The boy will be hungry and the bird brings food for him. Then an old man comes in the screen. The old man is chased by the tiger. There will be small chasing by the tiger. Then the old man, by mistake, kicks the boy who is sleeping under the tree. The boy gets frightened first and fights with the tiger. Then the old man thanks the boy for saving him. They will have a small talk there, where the old man comes to know that the boy is heading towards Hongrayo‟s house to rescue his sisters. The old man gives alcohol and stick to the boy explaining about its use while rescuing his sisters. And they depart.

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Day 3: Schedule

Time Activity Remarks

08:50 Registration

09:35 – 10:30

Performance by actors

Preparation of the sets

Technical team worked on sets and props

10:30 – 10:50 Tea Break

10:50 – 12:30 Development of screen play Till the ending

Preparation of Scenography

12:30 – 01:20 Lunch Break

01:20 – 03:30 Activity continued

Report:

The day started with the working of all members in their respective field. Set designers were

making the sets as suggested in the meeting the day before. The props designer started making

the props and costume designer was arranging fabrics and cloths for the casts.

Actors started with the performance of the screenplay developed the day before. After the

performance the screenplay was developed further.

When the old man and the boy move towards their own way then boy reaches Hongrayio‟s

home. The boy calls Hongrayio out of his home and tells that he was there to take away his two

sisters. Hongrayio gets angry and they have a fight. Hongrayio keep the boy also in the jail where

the sisters were kept. Hongrayio makes them work inside the jail. Hongrayio sits outside the jail

and drinks alcohol. When the bottle gets empty, the boy gives the bottle, which he had, keeping

his hair in it. Hongrayio drinks that and dies. When he dies, the 2 sisters and boy takes out the

key of the jail form his neck and open the door. The play ends there when they are set free.

Day 4: Schedule

Time Activity Remarks

09:00 Registration

09:20 Rehearsal by the actors

10:15 - 10:35 Tea Break

10:35 – 12:30

Rehearsal by the actors

Preparation of scenography materials By scenography team

12:30 – 01:15 Lunch Break

01:15 – 3:30 Performance by actors

Scenography work continued

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Report:

The fourth day of the workshop started with the rehearsal by the actors of the whole play.

The actors were rehearsing the whole day along with the discussions on necessary places. Some

actions where changed and tried many action to check which one is much better.

The scenography team was busy with the arrangement/ preparation of sets, props, costume, etc.

the whole day. Set was almost ready by the end of the day. In case of props, butterfly and

bumble bee were ready too. The making of vulture and the tiger was taking a bit of time. The

mask of tiger was a difficult task.

Day 5: Schedule

Time Activity Remarks

09:00 Registration

09:30 – 10:15

Rehearsal by actors

Preparation of the props and sets

10:15 - 10:35 Tea Break

10:35 – 12:30 Activity continued

Costumes tried by actors

12:30 – 01:15 Lunch Break

01:15 – 03:30 Preparation for the performance Sets and props

03:00 – 04:00 Last performance of the workshop

Report:

The day started with the preparation of the final performance for the workshop. As it was the

last day of the workshop, Jacques and Christian wanted to see the act and suggest some

necessary improvements. The actors performed with the prepared sets and props. All the

necessary suggestions were given by Jacques and Christian to the whole team along with

assigning the tasks to the responsible department and person.

Then the actual performance was made by actors with all light, music, props, sets, etc. Renchin

ma‟am also brought her 3 grand-daughters as an audience for the play. After the performance,

the feedback of the play was also collected. There are many things on which the team has to

work a lot. The props where to be made more proper and should look natural. The sound team

should also work on the music.

The smallest audience for the play liked the story. She also liked all the characters except

Hongrayio. She liked the last scene of the play where the 2 sisters and the boy came out of the

jail. She also said that the reaction of actor while playing with the butterfly was not friendly and

the sound of bumble bee were not dangerous.

Therefore, there need to be made some changes in the actions. The team has to prepare

everything on 12th Nov. when Jacques and Christian will be back from Janakpur. That day‟s

performance should be like a gift to them after this whole week‟s performance.

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Design (Sketches)

Curly Hair The Clever Boy and the Demon

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Production Process Workshop in Kathmandu 31st October-6th November 2011

Meeting with Danish Experts and Mandala

Members on 31st October

Discussion on story progress with Danish Experts on 1st

November

Jacques started working with

actors

Preparing

Puppets

Acting and manipulating

puppets Constructing

Sets

Jacques consulting with actors and

director

Christian helping scenographers to

design

Butterfl

y

Tiger

Eagle

Christian working with

scenographers

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Production Process Workshop in Janakpur 7th-12th November 2011

Christian working with

scenographers

Make-up for

play

Acting and manipulating

puppets

Constructing

Sets

Jacques consulting with

actors

Preparing sound for the

play

Eagle and

Parrot

Cow

Sewing the

costume

Pramesh Jha, actor of MINAP welcoming Jacques in

Janakpur Airport on 7th

November

Christian and Cultural Consultant

Renchin Yonjan Meditating during the

workshop

Jacques and Christian working with

actors and director

Actors are rehearsing the

play

Ready!!!

!

Thank You and Bye

Bye

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Annex-5: Details of Family Theatre Tour

5.1 Family Theatre Tour Plan

Performance Date Mandala Theatre Nepal MINAP

English Nepali District Place of performance District Place of performance

25th Nov. 9th Mangsir Kathmandu Russian Cultural Centre – Kamalpokhari

10th Dec. 24th Mangsir Lalitpur Patan Durbar Square

11th Dec. 25th Mangsir Kirtipur Hill Town Higher Secondary School

12th Dec. 26th Mangsir Bhaktapur Dattatraya Temple

13th Dec. 27th Mangsir Kavre Panauti

14th Dec. 28th Mangsir

15th Dec. 29th Mangsir

Dhanusha R. N. H. S. S. Nagrain

16th Dec. 1st Poush Gorkha Shakti Ma.Vi.- Patechaur

Mahottari Mahendra Chowk, Jaleshwar

17th Dec. 2nd Poush Mahottari Bardiwas Bazzar

18th Dec. 3rd Poush Kaski Radio Chunumunu - Pokhara

19th Dec. 4th Poush

Sarlahi

Krishnadevi H.Sec. school, Malangwa

20th Dec. 5th Poush Palpa Everest Boarding School - Tansen Sarlahi Barhatwa bazzar

21st Dec. 6th Poush

22nd Dec. 7th Poush Kapilbastu

Taulihawa Rautahat Rautahat Bazzar

23rd Dec. 8th Poush Bara Bazzar Area

24th Dec. 9th Poush Rupandehi Butwal

Siraha Pashupati H. Sec. School, Lahan

25th Dec. 10th Poush

Saptari Tribhuvan Chowk, Rajbiraj

26th Dec. 11th Poush Nawalparas

i Parasi

Sunsari Nagar Palika Bhawan, Ithari

27th Dec. 12th Poush

Morang Sabhagrih Biratnagar

28th Dec. 13th Poush Makawanpu

r Taranga Sanskritik Samuha - Hetauda

Jhapa Bazzar area, Bhadrapur

29th Dec. 14th Poush

30th Dec. 15th Poush Bara Simara, Dumbrawana

31st Dec. 16th Poush Janakpur

Janakpur Chamber of Commerce, hall

Janakpur

Janakpur Chamber of Commerce, hall

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5.2 Narrative Report of Family Theatre Tour

During the three week long mobile theatre tour of Family Theatre Mandala Theatre Nepal and

Mithila Natya Kala Parisad (MINAP) had performed their plays respectively Ghungrieko Kapaal

(Curly Hair) and Budhiyaar Chhouda Aa Rakshasha (The Clever Boy and the Demon) 28 times in 21

different districts of Nepal. After the grand premiere in 2nd Mandala International Youth Theatre

Festival organized by Mandala Theatre Nepal in Kathmandu both the plays were taken to two

different tours. Mandala started its theatre tour with the play Curly Hair from Patan Durbar

Square of Lalitpur. Then the play was viewed respectively by the audiences of Kirtipur

(Kathmandu), Dattatraya Temple (Bhaktapur), Panauti (Kavre), Patechaur (Gorkha), Pokhara

(Kaski), Tansen (Palpa), Toulihawa (Kapilbastu), Butwal (Rupandehi), Ramnagar (Nawalparasi),

Hetauda (Makwanpur), Dumarwana (Bara) and Janakpurdham (Dhanusha). MINAP started its

tour from Nagarain of Dhanusha. Then the play was performed respectively in Jaleshwor and

Bardiwas of Mahottary, Malangawa and Barthahawa of Sarlahi, Gaur of Routahat, Nijgadh of

Bara, Lahan of Siraha, Rajbiraj of Saptari, Itahari of Sunsari, Biratnagar of Morang, Bhadrapur of

Jhapa and Janakpurdham of Dhanusha districts. Mandala covered 13 districts where MINAP

covered 11 districts. Three districts were commonly covered by both the groups. Mandala

performed two extra performances in Makwanpur district as contribution show. Most of the

places Mandala and MINAP performed were open spaces where all kinds of people had attended

the show. The audiences were from different walks of life such as students, children, guardians,

teachers, merchants, artists and theatre lovers. Mandala performed two prosceniums during the

tour. Among them one was in Butwal of Rupandehi district and another was in Hetauda of

Makwanpur. Mandala performed the play there with light and sound effects. Similarly both the

play had used lights equipment in Janakpur of Dhanusha district too. Though the performance

venue was not a proscenium space we had to use lights there due to night time schedule. Beside

these places, we performed our play only with sound effects. Audiences who viewed our

performance in open space loved our play but those were feeling great who saw it in

prosceniums. According to them they could easily feel the aesthetic of play while seeing in

prosceniums. The most appreciated part of our play by audiences was our sets and puppets.

Audiences, especially children, were being so excited by these elements of our play. Use of all

natural materials while making sets, props and puppets was applauded by elder audiences too.

Similarly some audiences noted that they found the appropriate music in the play. Story of the

play was appreciated by cultural activists, journalists and teachers. The effort done by actors also

got huge applauses. Some audiences thought that Curly Hair, the play by Mandala would be

better if the use of alcohol by protagonist had been removed from the story. Though, they

convinced themselves by regarding the action as a dramatic mode later.

The most difficult thing to perform this play was regarding venue. It was good in prosceniums

but sometimes we felt difficult while performing it in open space. Along with space we had to

consider the weather as well. Due to the sudden blow of wind our sets (those were lighter and

portable) sometimes happened to fall on the ground. It used to make us sensitive and attentive

towards sets. But there did not occur any accident. Similarly sometimes we had to be stopped on

the way due to strikes. We tried to send our daily progress report from the spot but we failed due

to the load shedding problem and unavailability of network.

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Family Theatre Tour: 10th-31st December 2011

1. Performance of Curly Hair in Lalitpur by Mandala

Date: 10th December 2011, Saturday

Venue: Patan Durbar Square, Lalitpur

On the square stage, open space, Durbar compound surrounded

by walls

Time: 3:00 pm

Number of Audience: 300

Type of Audience: Children from different age group, tourists and local peoples

Local Coordinator: Krishna Bhakta Maharjan, Artist

It was the beginning of Family Theatre Tour. We were performing the play 'Curly Hair' publicly

for the first time after the premiere. As the venue was not new for us, we did our technical

procedures easily there. We started our play among 300 audiences. The location itself carries a

historic importance in theatre, so performing a play was not a unique matter there. But the form

of our play and its essence was widely appreciated by the viewers. People liked our play because

of its small crew and simple presentation. Use of less words and more physical gestures was

another device of our play that people loved much. They liked our portable sets and puppets.

The play was in Nepali language but even some foreigner tourists enjoyed our performance

there. After the performance Mr. Satya Mohan Joshi, a well known cultural scholar of Nepal

wishes his best for our program.

2. Performance of Curly Hair in Kirtipur by Mandala

Date: 11th December 2011, Sunday

Venue: Hill Town Higher Secondary School, Kirtipur, Kathmandu

Open space surrounded by compound and buildings

Time: 1:00 pm

Number of Audience: 400

Type of Audience: Children, teachers and local peoples

Local Coordinator: Rajan Maharjan, Principal

Kirtipur was another destination for our performance of “Curly Hair”. The location provided for

our performance was the playground of Hill Town School. Including children, teachers and local

people, 400 audiences viewed the play with great interest. Most of our viewers praised the

puppets and sets of the play. They also wished to see such play again.

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3. Performance of Curly Hair in Bhaktapur by Mandala

Date: 12th December 2011, Monday

Venue: Dattatraya Temple, Bhaktapur

On the square stage, open space, compound surrounded by wall

Time: 3 pm

Number of Audience: 500

Type of Audience: Children, families, tourists, pilgrims and local peoples

Local Coordinator: Rabindra Puri

We performed the play ‘Curly Hair’ at Bhaktapur on a square stage of ancient temple Dattatraya,

where almost the crowd of 400 people from different age group, praised the play. We faced an

administrative problem there at beginning. Some Officers from the municipality office

interrupted us to perform saying that we have not got authority to perform in their area without

permission. Actually that was our mistake that we couldn‟t communicate with the local

coordinator we appointed there. So, we apologized with them and requested for help. They gave

us a chance and we performed there. The audience response was good in Bhaktapur. Most of the

audiences liked the negative character‟s work in our play. They wished to meet him and

appreciated his work.

4. Performance of Curly Hair in Kavre by Mandala

Date: 13th December 2011, Tuesday

Venue: Panauti

On the square stage, open space, compound surrounded by wall

Time: 3:00 pm

Number of Audience: 500

Type of Audience: Children, families, tourists and local peoples

Local Coordinator: Rabindra Puri

Our last destination in Kathmandu Valley was Kavre. We performed our play on a square stage

of Panauti Market. Approximately 500 people watched the play and responded it with huge

cheers. Most of the viewers liked the story line of our play. They found it near to their

childhood. They appreciated the actors' works on stage. Besides, they also appreciated the

puppets of the play.

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5. Performance of Clever Boy and the Demon in Dhanusha by MINAP

Date: 14th December 2011,

Venue: RNHS school Nagarain, Dhanusha

School compound, open space, compound surrounded by wall

Time: 1:00 pm

Number of Audience: 500

Type of Audience: Children, families, students, journalists, local peoples and Local

consumer.

Local Coordinator: Ashok Kumar Karna, Principal of the school.

It was very good starting of the tour. Principal Karn made it too easy. There was a lot of students

waiting for us as Karn had informed him a day before. The student welcomed us and also helped

us to set up the stage. There was also a good mass of locals as there was weekly bazaar on the

day. Peoples from the nearby village were also there. We started our show dedicating it to the

former President of MITHILA NATYAKALA PARISHAD late Yogendra sah Nepali. It was

our immense pleasure that the audience enjoyed each moments of the play. As there were the

students of different village and consumers as well, it was easy to disseminate the massage to

different village. Students and locals gave us positive responses. After our performance some

children were interested to help us in wrapping up our stuffs. We thanked them and moved from

there.

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6. Performance of Curly Hair in Gorkha by Mandala

Date: 16th December 2011, Friday

Venue: Shakti Secondary High School, Patechaur, Gorkha

On the square stage, open space, school compound surrounded

by wall

Time: 12:00 pm

Number of Audience: 150

Type of Audience: Students from school and college, teachers and local peoples

Local Coordinator: Manju Aryal, Local Teacher

Performance in Gorkha was our first experience of showcasing the play Curly Hair outside

Kathmandu. We were excited and some kind of nervous regarding the probable reaction that

may come through the audiences. We constructed the play stage on a square inside the school

compound. At first we had targeted only students as our viewers but later on people started

coming from nearer community. They seemed unaware towards our activities and one of them

asked with us. We informed him that we are going to showcase a play. Then they started

predicting about our performance. Some of them were conveying the message to their friends

and neighbor. A teacher of that school was saying to his colleagues that we were going to

perform a play with social messages and issues like HIV AIDS or alike. He was also cursing such

groups who pretend to spread such message through the performance of lengthy and fruitless

plays. According to him all these act are merely 'Dollar' oriented. But after watching our play the

same teacher came to us and congratulated us for the nice performance. He said us that he found

a new kind of thought in our performance. We asked him about the new thing he had found.

Then he shared his experience that he had never viewed a play without any boring message and

socio political issue. He also revealed that he found our play full of entertainment and fruitful for

all age groups. Children were also happy to see our performance. A child of class 7 was asking

with us when will we go there with another performance. Though the number of audience in

Gorkha was little bit few we gained good reaction from there. Such positive reaction filled up

more energy inside our team and we departed from there.

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7. Performance of Clever Boy and the Demon in Mahottary by MINAP

Date: 15th December 2011,

Venue: LCMHS School, Jaleswar Mahottary.

In the school ground, open space, school compound surrounded

by school buildings and wall.

Time: 1:00 am

Number of Audience: 400

Type of Audience: Students from different age group, teachers, Local

businesspersons, and vendors.

Local Coordinator: Dharmendra Jha, Local Social Activist

It was a very cold day, but students of LCMHS School gave us a warm welcome. As Mr. Jha,

local coordinator had coordinated well. We got there a good experience as all the students

enjoyed a lot. After the completion of the show students of class 2-3 uttering the dialogue of The

Clever Boy „patpatpatpat‟. There was a big crowd. Teachers also enjoyed the play. They gave us

some feedback too and some of them praised us a lot. Even teachers had the very first

experience of such type of show. The praised us for the stage management, music treatment, folk

mithila arts and props setting. When we were wrapping up our sets and props some children

were playing with Arrow and using the same dialogue. Some of them playing like clever boy and

some of them were playing the role of The Demon. We packed our stuffs and moved from

there.

8. Performance of Clever Boy and the Demon in Mahottary by MINAP

Date: 16th December 2011,

Venue: Bardiwas Primary School.

On the square stage, open space, compound surrounded by wall

Time: 1 pm

Number of Audience: 400

Type of Audience: Children, families, local consumers and local peoples

Local Coordinator: Hari Balampaki, Chairman, Local Development Training Centre

District education office had announced to close the school for some days as there was sever

cold those days. But we got a good crowd as there was weekly Bazar on the day. Audiences

appreciated the play saying that they were never happened to watch such an enjoyable play in

their location. Some of the children audiences were being afraid by the demon in the play. Most

students and children enjoyed the happy ending of this play.

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9. Performance of Curly Hair in Pokhara by Mandala

Date: 18th December 2011, Sunday

Venue: Tara Kunja Secondary High School, Patanbesi, Pokhara

Play ground, open space, school compound surrounded by fences

Time: 12:00 pm

Number of Audience: 500

Type of Audience: Students from different age group, teachers and local peoples

Local Coordinator: Rabi Raj Basaula, Local Journalist

Pokhara was the next station of our performance after Gorkha. We reached there before two

days of our scheduled performance. It was because of the rumors of strike on following days.

On the day of performance our local coordinator Mr. Rabi Raj Basaula took us to the school

compound. Principal of the school warmly welcomed us. There we knew the fact that it was the

same school where the previous play of this project, i.e. Baathi Raani had got the huge success.

So, students and teachers were eager to watch our play. We built up our stage on the open

playground. The teachers helped us to manage the audiences. They made the smallest students

seat on the front row of audience line and we started our performance. At beginning all viewers

were enjoying but when the evil character entered in the scene some smallest children started

crying due to the fear. They couldn't actualize the dramatorgy of our play and feared. So, we had

to replace them to a safe side. After the completion of performance we talked with some

teachers and students. They were satisfied with our play. The principal suggest us to remove the

alcohol matter from the scene. We couldn't talk with local people as they were watching our play

through the fences. They moved from there with the completion of our performance. We

thanked all and left the school for our next station. On our way we happened to meet with Mr.

Saru Bhakta, a well known playwright and literary figure. He wished best for our program. We

headed towards Palpa then.

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10. Performance of Clever Boy and the Demon in Malangawa by MINAP

Date: 19th December 2011,

Venue: Krishnadevi H.Sec. school, Malangwa

School compound, open space, compound surrounded by wall

Time: 2:00 pm

Number of Audience: 500

Type of Audience: Children, students, journalists, local peoples and teachers.

Local Coordinator: Rupesh Karna, chairperson, Janhit sewa Samaj Nepal

It was a fantastic Day; little cold was there when we arrived in Malangwa, Sarlahi. The schedule

was set to perform in Krishna Devi HS School. But there were only few students in the school,

those who were come for tuition. Government had announced closed for the schools as there

were bitter cold those days. We have to move here and there for a while to collect the students

and other audience as well. We went in some private schools. The managements, who were very

much known about Mithila Natyakala Parishad, helped us providing their students. It was a good

crowd now. We had in other hand prepared the stage and other things. Now it was all set to play.

We start our performance at 2 pm. Students from different level enjoyed a lot. So did the

teachers. They thanked us a lot. They hadn‟t experienced such a play before. Students of KG

level were also explaining the drama in their own way. Some of them asked us to play again, but

it was not possible, so we moved ahead promising them to come again and again.

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11. Performance of Curly Hair in Palpa by Mandala

Date: 20th December 2011, Tuesday

Venue: Preparatory Secondary High School, Tansen, Palpa

On the square stage, open space, school compound surrounded

by school buildings

Time: 11:00 am

Number of Audience: 300

Type of Audience: Students from different age group, teachers, film actors and

medical students

Local Coordinator: Dhan Singh Thapa, Local Social Activist

Tansen Bajar of Palpa welcomed us with a newsof political strike. We spent a boring day in

desolate Tansen. What we could do in that day was our publicity and we did that. We met

different people there and invited them to watch our performance on next day. On the day of

performance we reached the school at time and started building up our stage. Students were

prying our activities through windows. We called up them to the ground and started our

performance. Some local film actors and medical students also were there to see our

performance. They all enjoyed our performance. Most of them told us that it was their first

experience seeing such open play with good music system and sets. When we were wrapping up

our sets and props some children came there and wished to play with our puppets. We

persuaded them that those puppets are fragile in their structure and so can't let them play with.

Even they were teasing and enjoying with our actors. We packed our stuffs and moved from

there.

12. Performance of Clever Boy and the Demon in Malangawa by MINAP

Date: 20th December 2011,

Venue: open ground, Barhathawa

On the open ground, open space,

Time: 3:00 pm

Number of Audience: 3,000

Type of Audience: Students from different age group, teachers, and Locals

Local Coordinator: Rupesh Karna, chairperson, Janhit sewa Samaj Nepal

Oh! god what a big crowd of students in such a bitter cold. The students of three big private

schools arrived at a time when we started our show. The ground was big enough for the show

but not as enough as it was needed to hold the crowd of more than 5 thousands. The

uncontrollable crowd disturbs the play twice. We could hardly complete the show. But we got a

good response from the audience. The show gave us joy and some lessons too. We decided to

choose proper place that could handle even big crowd. We wrapped up our sets and moved.

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13. Performance of Curly Hair in Kapilbastu by Mandala

Date: 22nd December 2011, Thursday

Venue: Bal Mandir Orphanage Home, Toulihawa, Kapilbastu

On the square stage, open space, compound surrounded by wall

Time: 3:00 pm

Number of Audience: 400

Type of Audience: Children, orphans, families, theatre artists, journalists, traders and

local peoples

Local Coordinator: Kalika Natya Samuha, Toulihawa

Toulihawa of Kapilbastu was the coolest station we had ever visited during this program. We

reached there at a cold night. Due to some miscommunication between our team and the local

coordinator, we had to spend the night in a cold and unmanaged guest house. We were afraid of

being sick by the cold but the warm hospitality of local people made us feel relief. We performed

our play there after two days. As Toulihawa was a Terai village, we found there most people

using Abadh Language instead of Nepali as their major language. But they said that they

understood our performance. But we knew they had still confusion regarding our play. Most of

them had the question about the message of our play. We explained that our play was just for

fun and entertainment for families and children. They seemed unsatisfied with our answer. So, a

drunken man caught up our play director and started frequently asking about the issue of our

play. Then we realized that we have more people as our audience who takes dramatic activities

only as a means of social factor to spread messages or raise issues. We asked him sorry for failing

to raise any issue through our play. But some people were convinced that a play or dramatic

activity merely can be source of fun or entertainment for families and children. Next day we

moved from there. We had to reach Butbal on the same day. So we were going. Suddenly, a

group of political ethnical activists appeared on the road and stopped us. They informed us

about their program i.e. Road Strike for a day. Then we pretended being a media group that is

reporting about their program. We took some photographs and video to make them belief. They

became happy as their program will be covered by media, newspaper and television and that's

why they let us move. We were just frightened by upcoming obstacles on the way.

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14. Performance of Clever Boy and the Demon in Rautahat by MINAP

Date: 21st December 2011

Venue: Rice mill ground, Bara

On the square stage, open space,

Time: 1 pm

Number of Audience: 400

Type of Audience: Children, players, journalists and local peoples

Local Coordinator: Brijkishor Sahani/brajmohan jha, sunrise bank

It was the ground of Rice Mill, where we performed in Gaur, Rauthat. It was the same place

where the battle between Maoist and Madheshi party had taken place some years before. When

we reached there, we found different group were playing cricket and other games. They don‟t

pay attention to us first, but when we started preparing stage they started coming closure. It took

us an hour to set the stage and music. Now there was a good crowd of more than 300 people of

different age group. People going by the road also came to the stage. Journalists, vender,

students, players, all come closure and they were very much eager to see the show. Now the

show started. Audience started drowning into the play. They were giving response to the every

moment and scene. The show really becomes memorable for us. Journalists made good

comments. Local FMs were airing the news of the show with expert comments. We thanked the

president of FNJ, Rauthat and move for the next venue.

15. Performance of Clever Boy and the Demon in Bara by MINAP

Date: 22th December 2011,

Venue: open ground in bazaar area

open space

Time: 1:00 pm

Number of Audience: 500

Type of Audience: Children, families, students, local peoples and Local consumer.

Local Coordinator: Mahesh Das, Journalist, Avenues

It was a good day, there was no much cloud in the sky and no fog on the earth, just mild cold

was there when we reached in Nijgadha, Bara. Our venue was set in a school, but there was a

very small ground and less audience. We moved back from there and started searching for next,

better place. Nearby the school we could found a good square, open ground. We urged the

students to come at the ground. They came and some teachers also came with them. We started

setting the stage. Artist was getting ready by the time the nearby families, walkers by the ground,

and players who were playing on that ground were moving at the stage. It was good crowd when

the show started. They enjoyed a lot. After the show when we were wrapping up the sets a group

of youths came and proposed us to perform on the occasion of Saraswat pooja. We gave our

contact number and moved from there.

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16. Performance of Curly Hair in Butbal by Mandala

Date: 24th December 2011, Saturday

Venue: Green Valley Party Palace, Butbal, Rupandehi

Proscenium performance, inside the hall with audience seats

Time: 1:00 pm

Number of Audience: 250

Type of Audience: Children, guardians, families, journalists, cultural activists,

Buddhist Monks, film makers and local peoples

Local Coordinator: Nepal Magar Yuwa Sangh, Butwal

We performed our play in a program hall in Butbal. It was our first proscenium show during the

tour so it took some time to manage the technical systems. We hanged up seven theatre lights

around the stage and started the show. There were audiences from different walks of life such as

children, guardians, families, journalists, cultural activists, film makers, Buddhist monks and

commoners. It was our immense opportunity that old people from different ethnical

communities were also there to watch our performance. As our play was based on a cultural

story of Kirat Community, we felt glad to have a good number of audiences from the same

community. They enjoyed our play very much. After performance we had taken some interviews

with some old women from the Kirat Community. They admired our play and stated that our

play succeeded them to memorize their childhood. We requested one of the monks to comment

on our performance then he couldn't speak more words. He just said that the play was well

knitted and he felt happy to see that. The local coordinator opined that our coordination part

seemed some loose that they can't manage good many audiences for us. We promised them that

we will strengthen our coordination part on coming days, thanked them and moved ahead.

17. Performance of Clever Boy and the Demon in Siraha by MINAP

Date: 23th December 2011,

Venue: Pashupati H. Sec. School, Lahan

In the school ground, open space, school compound surrounded

by school buildings and wall.

Time: 1:00 am

Number of Audience: 400

Type of Audience: players, students, locals, families and vendors.

Local Coordinator: Roshan Gupta/ Matribhumi Vikas Manch

It was a sunny day. We were enjoying the sun after almost three weeks. The government schools

were still closed and pashupati schools were too. It was hard to get audience but fortunately we

could collect a good mass in Lahan too. We performed in Prithiwi School where half dozen of

cricket and football teams were practicing. They were our primary audience. We look for others

too. For that we announced for a while when the set was being prepared. It was now more than

300 of mass when the play started. Thanks to the local fms as they were airing the news and

advertisements from the very early of the morning. It was a great show as audience supports at

each moments of the play.

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18. Performance of Clever Boy and the Demon in Saptari by MINAP

Date: 24th December 2011,

Venue: Gajendra Chowk, Rajbiraj

On the Road, open space,

Time: 1 pm

Number of Audience: 1000

Type of Audience: Children, families, local consumers, businesspersons, journalists

and local peoples

Local Coordinator: Shiv Pratap Shah/Radio Chhinmasta

It was a great support from locals and journalists as they helped us to perform at the most busy

place of Rajbiraj, Gajendra chowk. Local shut down their shops and paved place for us to

perform. In few minutes there were dozens of audience. A dozen of journalists of local Medias

and national one were there who helped us to set the sets. On the main road we performed the

show with the great supports of hundreds of audience. First we had decided to perform in front

of a temple but as the journalists suggest us to play at Gajendra chowk we went there. It was a

good move as there was a lot of audience beyond our imagination.

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19. Performance of Curly Hair in Nawalparasi by Mandala

Date: 25th December 2011, Sunday

Venue: Jagannath Higher Secondary School, Ramnagar, Nawalparasi

Play Ground, open space, compound surrounded by wall

Time: 1:00 pm

Number of Audience: 300

Type of Audience: Children, families, students, theatre artists, journalists and local

peoples

Local Coordinator: Purnima Magar, local radio journalist

It became a difficult task to collect audiences in Nawalparasi. As there was a holiday on the day

of performance on there, we found hardly a dozen children to watch our play at first. We firstly

built up our set and stage on the playground of the school. Then we turned on our audience

music. Some children arrived there and asked with us what actually is going to happen there. We

informed them about our program. It was our immense pleasure that the same group of children

became our correspondent ambassador then. They informed their families, friends and passing

peoples. We knew that a group from nearer village is also eager to watch our play. Then we sent

our people with our bus to drop in them. After 30 minutes there was a huge crowd in front of

our stage. We started our play. All enjoyed. They gave us the same positive responses; we had

collected from earlier locations. After our performance some children were interested to help us

in wrapping up our stuffs. We thanked them and moved from there.

20. Performance of Clever Boy and the Demon in Sunsari by MINAP

Date: 25th December 2011,

Venue: Nagar Palika Bhawan, Itahari

In the open ground, open space, compound surrounded by walls

Time: 5:00 pm

Number of Audience: 200

Type of Audience: Students, families, journalists and Locals

Local Coordinator: Prem Bastola/ Naya Sansar It was not a good day for us. We performed just before a few mass. We couldn‟t found a proper

place and last decided to perform in the compound of municipality. Municipality gave us the

time after the office. It was 4:30 when we reached in the ground. It was neither good time nor

place. We could hardly collect a mass of 150 plus. By the end of the show it was too late. It was a

great lesson for us. In spite of that we performed our best there and could collect good

complement from the cream layer audience.

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21. Performance of Clever Boy and the Demon in Morang by MINAP

Date: 26th December 2011,

Venue: Open ground in bazaar area, Biratnagar

On the square stage, open space,

Time: 1 pm

Number of Audience: 1000

Type of Audience: Children, students, journalists and local peoples

Local Coordinator: Navin Karna/ Praveen Chaudhary

What a great show! It was that kind of show that forced us to forget the remembrance of the

show of Ithari. Thanks to the Rambhajan Kamat, local artist of Biratnagar, for his helping

attitude and good coordination. He had collected the mass of more than 500. The mass was of

mix age and area. Basically there were primary school‟s children and artists as well as journalists.

Most of them were very much familiar with MINAP and its performance. They helped us

regarded us and placed us in their home, heart and paper. The crowd was exited. A very young

child came and sit-down on the bag of laptop. The laptop got destroyed. Thanks to god that we

had other option to play music for the show. We played music from other laptop and thus the

show successfully completed.

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22. Performance of Curly Hair in Makwanpur by Mandala (Contribution show)

Date: 27th December 2011, Tuesday

Venue: Bansha Gopal Higher Secondary School, Hetauda, Makwanpur

Play ground, open space, compound surrounded by wall

Time: 3:00 pm

Number of Audience: 500

Type of Audience: Students, theatre artists, journalists, teachers and local peoples

Local Coordinator: Kapil Sharma, Theatre Artist

This performance was not listed in our program schedule at first. But when we reached Hetauda,

we found we had to spend three days there. Then we decided to perform some extra shows as

our contribution shows in Hetauda. It was also because Hetauda is the place after Kathmandu

where Mandala Theatre has more well wishers and audiences. As we have already performed our

earlier plays there, the people of Hetauda are always positive and expectative towards us. We

thought of grabbing the opportunity at time. We visited a remote village of Hetauda where the

students of Bansha Gopal Higher Secondary School were waiting for our play. We performed

there. But the response was something unexpected. Some grown up boys were not interested in

our play rather they were making noise. We tried to talk with them after our performance but

they were not interested in serious talking. We thought that it was all because of their growing up

age; mischievous symptoms of teenage. But the smaller children, teacher and local peoples

enjoyed the play. Some of them asked with us about the program and its goals. We explained all

about the program and distributed some brochures of Family Theatre.

23. Performance of Clever Boy and the Demon in Jhapa by MINAP

Date: 27th December 2011,

Venue: Bazzar area, Bhadrapur

Open space

Time: 1:00 pm

Number of Audience: 500

Type of Audience: Children, families, students, local peoples and Local consumer.

Local Coordinator: Bhartendu Mallick, Ex. Mayor, Bhadrapur Municipality

It was the last show of two weeks long tour. We were in mood to come back home as soon as

possible because most of us were homesick. We were in hurry. We chose a place and set our

stage. There were also good crowd. Most of the local don‟t understand our language but they

enjoyed a lot. They gave their laughter at each punch. They showed much interest on our show

and that was also a very remarkable show for us. On such a long tour except Ithari we never had

to bother for audience. Its really very positive sign for us that Mithila still loving theatre and

performing art.

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24. Performance of Curly Hair in Makwanpur by Mandala (Contribution show)

Date: 28th December 2011, Wednesday

Venue: Reliance English School, Hetauda, Makwanpur

On the square stage, open space, compound surrounded by wall

Time: 2:00 pm

Number of Audience: 300

Type of Audience: Students, teachers and school administrators

Local Coordinator: Keshav L. Shrestha, School Principal

It was also a contribution show of Mandala Theatre. Keshav Lal Shrestha, the Principal of

Relliance English School, himself is a theatre lover. He regularly takes his students to theatre hall

to show them plays and theatrical exercises. This time too, he was interested to make a

performance of our play in his school. He requested us to perform the play for his students. We

agreed and performed there. It was a better experience than the day before. However, we had

some technical problem there. We had to stop the play for while due to electricity cutting.

Similarly, a sudden blow of wind made our set fallen down on the stage as they were light and

portable in size and structure. But our actors managed the situation. All students were enjoying

our play. They were asking about our sets, props, puppets and story. A child from class 1

narrated the whole story of our play after seeing the performance. It was a good achievement for

us.

25. Performance of Curly Hair in Makwanpur by Mandala (Regular Show)

Date: 29th December 2011, Thursday

Venue: Taranga Theatre, Hetauda, Makwanpur

Proscenium performance, inside theatre hall

Time: 5:00 pm

Number of Audience: 300

Type of Audience: Students, families, theatre artists, theatergoers, journalists,

teachers and local peoples

Local Coordinator: Ujjawal Sharma, Theatre Artist

After two contribution shows, it was our third and last performance in Hetauda. It was a

proscenium performance. So, we were assigned in the hall with our task from the early morning.

We built up our sets and fixed the lights. In evening we started our performance. The play was

aesthetically better than other locations due to the proper lights and sound. Audiences from

different realm viewed and enjoyed the play. Most of our audiences in this performance were

adults. After performance Mr. Ujjawal Sharma, the local coordinator accepted that he missed to

take his children to show such a play. He opined that this play should be performed again in

Hetauda. We thanked all of them and departed from there.

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26. Performance of Curly Hair in Bara by Mandala

Date: 30th December 2011, Friday

Venue: Ex- Servicement Children Academy, Dumarwana, Bara

Play ground, open space

Time: 12:00 pm

Number of Audience: 300

Type of Audience: Students, children, families, theatre artists, journalists, teachers

and local peoples

Local Coordinator: Bidur Khadka, local journalist

This station was the local area of one of our actors. So, we found a good number of audiences

there to watch the play. The performing location was a premise of children school there, so we

had children as our major audience. Remained were families from the village, some theatre

artists, teachers and journalists. There, too, our performance got a huge response. Students were

chilling up with the actions. Most of them were impressed by the puppets we made. They were

trying to touch our puppets after the performance. Some people asked about the relevancy of

such plays and stories. We explained them. Even there too, some people were seeking the socio

political message behind the play. We told them that it was primarily for fun and recreation for

children.

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Family Theatre Audiences

Students enjoying Curly Hair in Palpa Performing Curly Hair in Kirtipur

Audiences in Janakpur

Audience in Test Performance in Kathmandu

Performing The Clever Boy and the Demon in Lahan

A furious child in Pokhara

Enjoying the play in Gorkha

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Family Theatre Tour Around Nepal with the plays ‘Curly Hair’ and ‘The Clever Boy and the Demon’

Mandala performing Curly Hair in Panauti

Curly Hair in Nawalparasi

The Clever Boy and the Demon in Bara Curly Hair in

Gorkha

MINAP performing The Clever Boy and the Demon in Itahari The Clever Boy and the Demon in Biratnagar

The Clever Boy and the Demon in

Lahan

Curly Hair in Pokhara

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Annex-6: Premiere and Closing of Family Theatre

Performance in Kathmandu (Premiere)

Date: 25th November 2011, Friday

Venue: Russian Centre of Science and Culture, Kamal Pokhari,

Kathmandu

Proscenium Performance, inside the theatre hall

Time: 4:00 pm

Number of Audience: 300

Type of Audience: Invited children, families, journalists, theatre artists, celebrities

and others

On 25th November, 2011 both the plays of Family Theatre was premiered in Russian Centre of

Science and Culture, Kamal Pokhari, Kathmandu on the occasion of 2nd Mandala International

Youth Theatre Festival. The program was started with an introduction of Jacques S. Matthiessen

by Cultural Consultant Renchin Yonjan. Performance of “Curly Hair” was followed by “The

Clever Boy and the Demon”. Viewer seemed happy to see such type of drama.

The team leader of Mandala Theatre ended the program by announcing the start of tour in

different places of Nepal.

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Performance in Janakpur (Closing Ceremony)

Date: 31st December 2011, Saturday

Venue: Ram Janaki Temple, Janakpurdham, Dhanusha

On the removable square stage, open space, surrounded by wall

Time: 7:30 pm

Number of Audience: 2500- 3000

Type of Audience: Children, families, theatre artists, journalists, pilgrims and local

peoples

Local Coordinator: Mithila Natya Kala Parisad, Janakpurdham, Dhanusha

The number of audience we faced in Janakpur is rare in our theatrical career. Yet, it was a joint

closing ceremony of Family Theatre by Mandala Theatre and MINAP; the ceremony got a huge

inspiration and support. On the courtyard of Janaki Temple we performed our play on the

removable stage prepared by MINAP. Our performance was followed by MINAP's. People, who

usually speak different language (Maithili) than us, liked our play. The unrelenting crowd of

audience was prying us from different corners. As we finished our performance, the audiences

gave their huge applauses for the play. Later, we talked with some of them. They admired the

play. They, who hadn't got chance to see such different play in their history, wished some more

plays focusing on families and children. As it was the closing of this project the team leaders and

directors thanked all for their support and wrapped up the program.