The brothers and sisters of the house go to the stage, Rajesh Hamals to the film! All artists in our house. Eldest brother towards furniture, who can sing songs, also sketch. Act well. However, the brother did not continue acting. Deusi dancing sisters also left this area after playing some serials.

  What are you doing

? A lot of people used to say when they started playing. However, one day, Maila wrote a letter to his brother, 'I can sketch, I can also act.' Gradually Chetan Angthuppos were found. In this way, the journey to the stage started with friends. 

We heard that Shilpi's second batch wanted an artist. Although we were doing theater in Chulachuli, we did not have access to the center. Our furthest reach was Damak. Prakash Angdembe was there. Shilpi was told that she wanted a student from Eelam. That's when I decided to go. There was no rent, Chetna Natya Group Elam sent it with a rent of 5,000. I came to Kathmandu around 2071. Shilpi's three-month class is over. Our batch presented a play.  In the

solo performance, I acted in the story of stealing my sister's money as a child. Then I joined Sushil Pokharel's third batch of 'Gya'. Since then I have been acting and directing plays. 'Living Sky' has become a much loved drama by the audience. Dramas such as Jokhana, Lato Pahad, Green Stone, Midsummer Night's Dream etc. were performed. Instruction also started. 'Chorko Sor', 'Shadow Puppetry', 'Meshidand', 'Mukkumlung' reached. The greed to be named, to be recognized by others, when I got here, art covered me even more. It is not known that 15-16 years have passed in this area. 

After all this time, I realized the politics inside the theatre. Politics is fine. But, now art or drama, how much is business or how much is art? I see that it is not possible to distinguish. Art and business are still not separated in this area. The gap between generations is huge. Lately it seems to me, we are stuck where Sunil sir is stuck. We have not gone further than that. We have not been able to surpass him even in terms of efficiency.  I am not a

director, but after doing every play, I feel that I have lost my creativity. As far as acting is concerned, when someone says 'I am your fan', I think we stop there. We stopped there, stuck there. We are lost in terms of acting skills. We have not risen above our generation and the new generation. This is the biggest problem of theater now. 

Another problem in this area is the 'tag' we are given. With that tag, we have to fight with our Guruvarga, teacher. Recently we were preparing to open a new theater. It was almost decided in 15-16 meetings. At that time we were given the reason, Falano Theater is also community oriented. What about the tribals and ours in the movies? Questioning that, the new theater was not allowed to be put into operation. However, we did not come looking for caste! When others came to tell their stories, we said nothing. Why object when 2/4 of our stories start coming? Now, different stories have started coming in the film as well. They need the face of Dayahang (Rai) to run their film. However, many stories of tribals are told. In an invisible way, I see this topic in the theater as well. 

Recently, an elder brother wrote on social media, "By making a community drama, they filled the audience in the hall." We see their drama as art. However, they see our play as communal. They don't consider our play to be a play. They look at communalism, why is our drama not Nepali? Our problem is not with caste but with religion. 

We are not saying that only our stories should be heard. We have a story, let our story be heard. Look at our story, we are just saying. However, what is the reason for our leading artists to panic? One of Meshidanda's poems came under controversy. The intention of the poem written by Bhupal Rai is very bad. Those who say that are our leading artists. The same leading colorist will create a play on the stories of the tribals through various projects! They would be happy to sell our story, but have trouble speaking up in our movement?

Whenever we perform a play, our leading colorist writes a certain tribal play. They did not consider our drama as Nepali. Some time ago, during the screening of Naveen Subba's film 'Gaon Ingai Nade', they said why should we watch Rai's film? Did we ever call Anmol KC's film Baahun's film? Such a debate is necessary. We are also left to be washed, left to be chosen. However, it is surprising to see that Agraja has also determined our age. 5-10 years go by in leaps and bounds. But, in the next 5-10 years, Kiran Chamling and I have vowed, we two will give birth to 10 talents like us. We are fighting these invisible things. 

Adivasis' stories are also Nepali stories and Nepali dramas. If we don't treat our drama as a drama, we shouldn't treat them the same way. One day our Guruvarg may consider our drama as a Nepali drama. I am of the side that we should work continuously rather than disputes. It is said that you get as much as you give.  I think

art should be easy for everyone, it should be beautiful. However, here even our guruvarga has gone astray. As long as there is a sense of ``Guruchela'', then there is respect for the Guru. However, if the gurus go astray, we should also think about something. It happened now. Those who pretended that everyone should be able to live the same way chased the team after building the drama building. This is what happened to most of them after the drama building was built. 

Have we forgotten to look back at ourselves? If someone tells you that it is a drama, do you jump up and down? If someone says that the drama is over, are we going to go into depression and go abroad? In recent times, those who become colorists have come in a hurry. But where did they go? Where is this product being consumed? Maybe it wasn't the right place for them. Some could not even walk. Everyone looked and saw Dayahang. Saugat Malla, Bipin Karki, Vijay Baral came to watch. He comes to say that he is a star. After arriving here, you will know the hard work and struggle. They do not see the struggle and journey of the artist. Perhaps some could not make that journey. Are you tired? Yes, it gets tiring. However, it was not enough to stay tired. Had to keep going. 

is, theater is not professional. Still not. It cannot be said that one can live by acting for another 10/20 years. There is no way to survive by acting. It takes at least 3 months to make a play. How much did that one play pay the actor in three months? 25 thousand? It is difficult to survive in this field. How are the colorists holding up? I am surprised myself. And the elder brothers say, we staged a theater by eating chiura, you should do the same.

The gurus who say no man is a star are the judges of acting stars. The problem is there, maybe he had to take that path to survive. However, Rajesh Hamal is needed to play the role of those who do not have small or big roles. A movie star is needed. Our gurus needed a star to act. Just last week there was a debate over the star. He has more followers than you, so let's take him. When there were no women on stage, there were Pashupati Rais.