I did drama when I was in school. But later I came to know that theater is a separate genre. I was born in Gorkha. Theater consciousness has not yet reached a place like Gorkha.

There is no representation from the Gurung community. The consciousness of art is still not reaching openly in our community . I made a drama 'School' based on Gurung Katha .

There was also a story of Gorkha in the drama 'Chalice Bhir'. It is a story of how a 10-year-old child looks at his culture through psychology. His mother died after falling from a cliff. In the play, the mother comes to Dhami's side and speaks . The child thinks, 'Is it really my mother who spoke?' How does the child take his culture, how acceptable is our culture to children? The play says . 

Apart from that, I have not been able to work on Gurung culture. In terms of

acting, I have done more than two dozen dramas. In the beginning, he was happy to play as much as possible. I used to rehearse in one theater and do shows in another . There was a time when I had done 10 plays in a span of 2 years . With this formula, the number of dramas reached a lot but the quality was low .

This approach changed after . I can be happy in drama . I can live from the drama . But there should be joy while working. I must become an idea and an issue . I must develop . The same thing happens in yesterday's drama, the same thing in today's drama and the same thing in tomorrow's drama, if there is no growth, why do you have to work? Now I try to do limited work . I think that I should contribute something to Nepali theatre. Now I think that the next generation should be able to look at my work and evaluate it .

own story

We must always tell our own story . Because forgetting the root, where will the tip reach? This is your root. Forgetting the ground you stand on, where do you go? First, your footing must be strong. It could stand only after the roots are strong . The story of our identity, the issue of tribals is coming up now, it is a very golden moment . Because the tribal issue did not get any space in the drama. Whatever is happening now, this is a golden opportunity . Finally we got to do the root work . We got to work on our soil . 

especially this should have come much earlier. If he had come forward, he would have had a chance to know himself. Now a firm is being prepared . We are finding our way . It is known that rhythm can be brought to the drama from the chibrung of lemons. Now it can be connected with contemporary dance. Contemporary dances like paddy dance, pigeon dance can also be danced in Chabrung. Jhyanta is also able to give a cue to the contemporary . That thing was just found out. This is very good practice.

yesterday and today

When I came to the stage, a melodrama was going on . In between, a realistic play was played. Now there are many types of firms. Drama is also being created from the fusion of many firms. The issues of drama before and now are different. The way of acting is also changing . The use has also started to increase. Some of the current directors work without rhythm. There are also directors who destroy the structure itself . I find this process interesting . The way of working as a whole has developed more than before. Consciousness is opening . 

In the current drama, the issue is different . The story of our community must be told. The story of the roots must be told. It was also said at that time . But the thick one is now . At that time, drama was taken lightly. Now the respect for color workers has increased . 

Now the environment of earning from drama has also become easy . My experience of 10-12 years also says this . I saw a lot of things during this period. The environment has changed then and now. It is easy for a new person to play drama these days . On top of that, they are not put to work. Being professional . It wasn't like that before. I have done a lot of drama in collaboration . After working for 3 months, I have received only thirty five hundred rupees. After working for 3 months, I have received nothing but thanks. Now the artistes get less, but they get paid.

Energy in Karma

Where does the energy come from? What is his motivation? Many ask . Once an artist gets the experience of being on the stage, he becomes deeply addicted. This kind of addiction turns into a hangover if it doesn't work. An invisible feeling is created with the audience and the actor sitting on the stage, a skilled actor knows that. 

When he realizes how much his performance has affected him, he doesn't quit acting . I keep saying it over and over again . If you don't kill yourself in war, someone else will kill you. If you don't do it on stage, the world laughs. What he feels after it is done will guide him in the play .

Ghar bane, mind far away

Ease and convenience have been added to the theater than before. Theater houses have increased. Painters have increased. Lights are convenient. But theater prices are lower than before. Are we becoming more professional now? We are people who play with emotions, people who play with juices. Our drama is missing the juice.

How can you be professional and sophisticated by killing the sense of development in theater? It turned out to be Robert . The hands and feet move, it means . But no mind . It should be professional without hurting people's feelings. 

was not home in the theater yesterday . The house is being built . But the members who should be in the house kept getting separated. The pronoun is moving in its own way . Shilpi is walking in his own way . Kausi in his own way . And Mandala in its own way . We are also walking in our own way  that ? Lost unity ? The entities that came to bind it are only in name . What is the work of these organizations? They don't even come to see the drama being made. How can one make ? Lost discussion, lost debate ? If you want to walk at your own pace, you have done it in another area instead of in this area. This area should be a place to shake hands. There must be a place where the voice of a color artist gathers.

Bitter reality

We learned drama from the previous generation . We followed the path they were leading. It took time for the previous generation to establish that I play. They established that. Now it is being established that you should not work for free, you should work with wages.

is not developed on stage . But the current youth generation is not ready to face what has been developed from the old pattern. The time has come to take Nepali theater in a different direction. Even now, we are running on the same pattern. Now a new dimension must come. New ideas should drive . 

I am talking about the issue of tribal community . But for how many days will the drums play only? Is that all the drama? Shouldn't I play a Norwegian drama ? Shouldn't I play Germany ? Must play . All dimensions should be developed. The kind of tribal stories that are coming now.

drama is not only that, it is far beyond that. Now the audience felt monotonous. In a lemon play, all lemon characters are . Will there not be other characters in that society? Will they come? Isn't there a story of another character in the same society? It is possible. Gurung is not all Gurung. The important thing that the current generation has to bring is what dimension to take the drama to, what style to make it.  We have to make such a way on the