The varied notion of theater, be it Bad Dicky, a parody of Richard III by Shakespeare, or Fashion (1845) by Anna Cora Mowatt, either subtly or blatantly, are the mirror of realities, and every other aspect that is tied to such realities.
Yogmaya was the first theatrical performance I watched during a school excursion. Looking back on it makes me realize that even then, it stirred a sense of perturbation within me regarding the notion it promoted. My second exposure to an experience in theater was during my first year in law school. ‘Dolan’ was organized and executed by my seniors from commencement to conclusion. It generated an entirely different momentum of interest and respect towards the performers and organizers from me. With the emotional and intellectual maturity to understand the intricacies of most words and gestures of the play, I was, through my senses, forced to analyze what the play represented.
With the apparent discussion that followed after the play as law students, the only thing we agreed upon was that theatrical performance was one of the best ways to bring into light the practices of society, good or bad. The play of Yogmaya, on the one hand, was an interesting way to show the real history of Nepal while making people realize what and how much was sacrificed to get to the present structure. Dolan, on the other hand, represented the timeless structure of injustice drenched in atrocity. Both of these plays represent the taboo and malpractices woven into the womb of our culture and practices.
At Kathmandu University, realizing the importance of theater beforehand, Kathmandu University Theatre Group (KUTG) was established in 2020/2021, inspired by KUTG, an initiative to create a play plagued specific individuals in Kathmandu University School of Law (KUSOL), which later transformed into one of the best theatrical experiences for the participants and the audience. Dolan showed a very common but rarely highlighted social structure, the destruction of which birthed some serious consequences. It visually represents the hardships faced by people who, within the figure of toxic masculinity, are subjected to immense brutalities like rape. The play was a considerable success, inspiring people in the School of Law to further highlight unwanted and repressive social hierarchy through similar theatrical practices, which would later pose a more profound discourse within oneself and with others. BlackBox is yet another initiative undertaken by KUSOL to bring into perspective issues regarding mental health and all contemplations of life and death that come with unboxing emotions, which, even though it is the subject of many debates in the present context, has yet to gain a surge of momentum in the gray nooks and corners of Nepali villages.
After watching a couple of plays, I realized, to a deeper extent, that theatrical performance is indeed one of the best ways to openly stir a discussion on what many consider to be a ‘stereotype,’ ‘taboo’ or a ‘social issue’ which is why viewing like-minded people strategizing BlackBox has been enlivening.
A feeling of commitment towards the betterment of society has lifted fellow law students, the result of which physically manifests through BlackBox, wanting to talk about serious issues that could infest our communities and homes.
Having a conversation, however, about mental health has been absent from our culture for very long. We are wired to answer ‘I’m fine’ whenever someone asks us how we are doing, even when we are on the edge and suffocating. In this world where most people are grappling to make ends meet, reflecting on one’s mental health is not prioritized. Plays like BlackBox and Dolan nudge people to acknowledge that many people are damaged because it is almost impossible to make anybody happy with just a few kind words.
Recognizing that some days are more challenging to manage than others is a common experience for many, motivating organizers to create such plays. In such difficult moments, however, a drastic decision to not live anymore does not have to be some life-altering drama. For some, it could be a mere identity crisis taking up too much space, while a sense of pessimism might torment them. Especially in an age where people have a mercenary tendency, the willingness to live comes at the cost of ethics and principles at the core of everyone’s happiness.
Even in our culture, which values morality and spiritual well-being, people deviate from such perceptions and chase intentions that invite vices and suffering. Having such an intent, that is, in its absoluteness, materialistic and physical, in the end, fails to provide a person with a sense of contentment and self-fulfillment. Such cognition could be pivotal for youngsters like gen-z and gen-alpha to live prosperously. The reason is that even the people who have climbed down from the peak of their life in this era never fail to give insights through their experiences to the young adults that happiness is not found in things, you cannot take it with you, and that experiences are valued more than possessions.
Performances in theater are always a unique experience for all parties involved because you never know what action or which dialogue hits very close to home. One thing that I have realized, being a part of an audience and while writing this piece, is that most of the crowd views theatrical performances not just as a magnificent way to bring into light the shadows of realities but also as either a tragic or a delightful way to discover oneself.
-Garima Gautam