KATHMANDU, Dec 6: Raat Chirnya Bhanu’ produced in association with Lok Drishti Therater and Aarambha Natya Samuha had its final staging at Shilpee Theater, Battisputali on Monday. The play, written and directed by Prabhakar Neupane, was reenacted by theater artists Prakash Sindhuliya, Sakchhi Lamsal, Prem Poudel, Pralhad Kharel and Prabhat Niraula among others while Ramesh Dahal, Chandani Shahi, Basudev Khanal, Radha Shrestha, Manas Raj, Pushparaj Awasthi, Rajan Bhujel, Melina Gurung, Shreya Bhusal, Birendra Khati, and Shriman Neupane could be seen in supporting roles.
The play revolves around the childhood, adulthood and the old age of Aadikavi Bhanubhakta Acharya’s life. The play had an opening with chorus putting garland on the statue of Bhanubhakta to that of less regarded figure Ghansi, who actually was believed as the guiding figure of Bhanubhakta himself. The action then weaves circumstances where an unknown character raises the concealed identity of Ghansi. The connection in between them later leads the plot through the journey of Bhanubhakta’s life, providing a closer picture of his poetical creations and the chain of incidents that affected his life.
Beliefs surrounding Krishna Janmashtami
The childhood stage depicts the scenes of young Bhanubhakta, born to a father who works as a ‘dittha’ at a government office. His early learning of Sanskrit literature with his grandfather followed by his adulthood where the sudden demise of his father stirs up troubles in his life getting him incarcerated without any offense. Ultimately this chain of events lends a cause to face him an untimely death.
The well-structured setting quite suited the scenes that were played with a powerful delivery of ancient Nepali dialogues spoken in the then society of Tanahun. With the props and symbolism gradually connecting the spectators to the ancient Nepali society of Tanahun, the costumes and choreography have added much significance to the entire play.
Setting a benchmark in the Nepali theater world, ‘Raat Chirnya Bhanu’ with its heavy punch lines and praiseworthy coordination of actors on stage has made a mark and earned appreciations from the spectators. Discussing the script, playwright Neupane said, “The script originated from my visit to the birthplace of Bhanubhakta where I came across many controversies surrounding the poet’s life. I have tried to unravel the facts and promote Nepali plays to greater extent through this play.”
Jeevan Baral was behind the making of the set with Sabina Badal in the choreography and Pushparaj Awasthi as well as Radha Shrestha in costumes and make-up.
