A not-for-profit organization based in Kathmandu, Theatre Village Nepal aims to redefine the world of Nepali theatre. It has been doing so by exploring theatre, and its history while also working on ways to improve art aesthetics from the root of Nepali culture to the digital world, being inclusive.
With a special focus on research and seminars to understand both the past and present of Nepali theatre, the organization works on thought-provoking theatre productions to redefine the future. The productions are diverse and innovative, a beautiful amalgamation of vibrant indigenous culture and ever-evolving world theatre. While a gap exists between the two, Theatre Village Nepal aims to bridge the gap by practicing cultural exchange programs such as hosting international theatre residency and international theatre festivals to interexchange theatre techniques, and experiences to enhance global connectivity and harmony. The organization also works to develop the skills of innovative theatre artists and activists through its theatre school. Theatre Village Nepal prioritizes the artistic skills of youth, women, LGBTQIA, and children to build grassroots theatre movements, create a vibrant interdisciplinary performing art movement in Nepal and provide artists access to world-class performing space with world-class infrastructure, environment, equipment, and technology.
In the long run, theatre education and development led by Theatre Village Nepal aim to contribute to a richer and more prosperous theatre culture raising the burning social issues, climate crisis, political chaos, international uprising, global refugee issues, and effects on human sensitivity at both the national and international levels. Theatre Village is working to set up a professionally managed, well-equipped, and sustainable performance space in collaboration with local communities of Nepal and international theatre groups.
Based on the short story by the late Jagadesh Ghimire, this play unmasks the real face of diverse social structures that are unfavorable to women. These structures are hidden behind the curtains of several imported isms, biased social norms, political commercialization, or even within the daily social necessities like education,
The play opens with dilemma and confusion between Binaya and Kavya. The young sculptor Binaya and his fiancée Kavya are preparing for the arrival of Kavya’s military father and, more importantly Aggrawal, a millionaire who might be persuaded to buy one of Binaya’s artworks. In order to make a good
Women in War Active Space (an art installation) based on Narayan Wagle’s book Palpasa Café. We will soon provide the performance’s final date and location.
