२४.१२°C काठमाडौं
काठमाडौंमा वायुको गुणस्तर: ८०

Acting is the worship of gifts

Be it professional life or social environment, we all have a special relationship with someone - with a special point of view. A person's view of himself is determined by what he sees and experiences, which cannot be changed by other views of the world. 'Samadrishti' is the same pillar, where the life-picture of the other will be written in the vision of one.
दयाहाङ राई

We use Google Cloud Translation Services. Google requires we provide the following disclaimer relating to use of this service:

This service may contain translations powered by Google. Google disclaims all warranties related to the translations, expressed or implied, including any warranties of accuracy, reliability, and any implied warranties of merchantability, fitness for a particular purpose, and noninfringement.

Saugat Malla is a very dear actor for me. He is a very 'perfect actor'. He works in the rhythm of the character he creates. He has a long and fascinating practice in character building. That's why I say again and again, Saugat is a perfect actor.

Acting is the worship of gifts

Here I mentioned the word 'Rhythm'. If that is to be believed, the walk, call and the entire Hulia cover of the character created by Sougat is such that the character seems completely believable. The audience is very happy to see that character. Saugat works tirelessly in his character-building. Before working in any film, he takes at least 15 days to get into character. I like his style very much.

All artists have their own original way of working. However, Saugat tries to work deeper into the physical aspect. If a character walks barefoot, the gift is practiced for 15 days. How does walking barefoot feel? How does walking feel when walking on land, mud or sand? Saugat's body has become accustomed to that aspect. For example, if Saugat is appearing in a film as a sailor and that character has a hand problem, he will start working hard to get used to that character. Which hand does that sailor hold the door of the bus? Which hand holds the money? And, which finger rips the money? Sougat has already been practicing for a long time. So Saugat is very much focused on acting. He doesn't choose any other job than acting, maybe he doesn't get any other job.

He is always struggling for acting. In fact, he is a full-timer in acting. No interest in anything other than acting, no complaints with anyone. Film is his work, acting is his main profession, acting is his worship.

I am busy with students at Mandala Theater. However, the main purpose of the gift is to make the character standing in front of you. As soon as he survives one character, he starts working on another character. There is no other artist as hardworking as Sougat in Nepal. He is always looking for method acting.


We have worked together in many films in Masina-Masina roles. Sougat and I played small roles in the film 'Acharya'. At that time, we liked to do characters that would come and go but stay in the brain for a long time. I played the role of a doctor in 'Acharya'. Sougat played the role of a man who beat up Bhaktaraj Acharya. We also have a small role in 'Dasdhunga'. Even then, we were not seen in the same frame of that film. "Highway" and "Funko" are not seen together.

At once we were seen together in a long time frame in 'Loot'. The story of the two of us is like this - even though we were in the same film, we were not in the same frame. This has happened in many films. We have been seen together in 'Kabaddi Kabaddi', 'Lappan Chhappan', but we are not in the same frame together in the middle film. During 'Loot' we used to rehearse and improvise a lot. Before 'Loot', we were in Eelam shooting for 'Highway'. 'Loot' director Nischal Basnet sent us the script. Even on the sets of 'Highway', we used to talk about 'Loot'. We returned to Kathmandu and rehearsed for 2 months. We used to write and revise dialogues daily. In the beginning, Saugat's character was only 'black'. He likes two words that mean the same thing! After that, while searching for a character with the same name, Haku-Kale became. After finding out that the character is Newar, he still remembers working on Lovez paying close attention to the letters 't' and 'th'.


Arohan Gurukul was a place of theatrical worship. We are contemporaries. It was in Gurukul that I first met Saugat. Which drama did you watch at that time? don't remember However, among our group of friends, there was a discussion about Sougat's acting. I was learning acting outside the Gurukul at that time. We especially heard each other's names beforehand, but only saw the work a little later. Only later did we get to know each other. In our group, we heard a lot, "Gifts act dangerously." But, how to recognize? I didn't watch his play, he didn't watch mine either.

Although there was a discussion about 'so-and-so', the acquaintance happened only later. Sougat watched my acting long after I watched his acting. After watching the play 'Burki' I played, I remember Sougat saying, 'How far back I saw your work man, I could barely see it when I heard the talk of acting.' Later I started watching his plays continuously. In this sense, I saw Sougat from the drama. As soon as Saugat entered the stage, a different vibe came to the audience. I have seen all his plays on stage, from short to long. He used to act with fear in the theater. Even now I think he does a great job in theatre.


Saugat is as satisfying as it is to see it in the theater, but it is not so satisfying to see it in the film. Why? He develops his character in a way that the screen doesn't seem to be able to handle. This lack is due to lack of cooperation especially in films. The film is made in collaboration. However, the level of film that Saugat tries to work from has not been made in Nepal. The way he tries to give his character 100%, we don't think of such a film. So his efforts are wasted. As I am making a character, Sougat is putting pressure on the filmmakers to say, 'You can make a film this way'.

Hey! How does he do all that? It seems strange. In 'Lukamari', he worked with a blind eye. The same effort was made in 'Chadke'. He has done the same terrible work in 'Agastya'. The trailer of 'Agatsya' itself tells about his work and hard work. He works very hard in every film. But, why don't other filmmakers work as hard as him? The question is this.

Saugat speaks the dialogue in the same rhythm throughout the film. He speaks exactly what is in the dialogue, he does not speak after modification. The dialogue he has to speak, in every take, he speaks the same way. It may be due to long practice in the drama, his rhythm is the same when speaking the dialogue. However, the dialogue written in the screenplay is mostly spoken by rote, that is the weakness of Sougat. Why does he do that? Especially Saugat forgets dialogue quickly, this is what he told me. Therefore, instead of speaking a dialogue after reading it in a short time, he is speaking a dialogue which he has practiced for a long time. He rehearses the dialogues himself, does not bother his co-actors by rehearsing them. However, he reacts in dialogue with his co-actors. In that scene, he is speaking in the same manner as he has practiced the dialogue. He has been practicing the dialogue 'When did you come?' and he is saying that dialogue in the same rhythm in every shot. It does not go up and down.


In particular, he is creating a world of characters in his own imagination. He works away from family, friends, politics, society. Such is his habit. That's why he creates a fictional character very imaginatively. Many times I have heard the director forget to say 'cut' while he is acting. Why is that? Because the director did not understand his acting ability. There is only one aspect that

Saugat needs to improve, and that is the knowledge of current affairs. He has imagined and created a character, but we do not have filmmaking that can create another world in the film. We are making 'Yisso Sapat Leere' formula films, in those films the character of that level is never imagined by the director.

Films with social themes are being made here, contemporary themes are also kept in them. The artist should also understand that theme. Sougat reads a lot of books, and also creates characters from imagination. Doing so breaks the audience's connection with the character. And, the film flows on one side, the character flows on the other.

Sougat ignores current affairs. He should understand the society. At some point I even told him that 'current affairs need to be understood hai saugat'. At that time, he said, 'This kind of subject gives me a headache, man.' But, we did not have such filmmakers who could explain the importance of these subjects to Sougat. I see that he is more impressed with the character than the story of the film.

I ask him from time to time – what was the fun of working on a film? He always says, 'This character is fun, man.' Yes, every character is tempting for an actor. But I'm looking at the story more than the characters. He is greedy in his character, I think - the story should also be made according to that. So Saugat should also pay special attention to script selection. His specific response to not paying attention to the script is interesting. He often says, 'The job of the script is the writer, the job of the actor is to portray the character.'' He doesn't pay attention to that. That is his current problem. He works very hard, but he is not able to eat the fruits of his labor.


Sougat is an honest person – humble, loving and kind. He is also an animal lover. Once he kept a monkey at home. We started getting closer since we started our career in films. From the 'highway' we started getting closer. We have done a lot of work together. We often gaff when we are outside the valley rather than Kathmandu. There are hours of gossip during shooting. Whether on a foreign trip or shooting, there is gossip for hours on different topics, sometimes there is family gossip and sometimes the day passes by just making jokes.

We also planned to do a workshop once. We have a hunger for acting, but I think we have forgotten how to do it. Therefore, it was discussed to sit together for a certain period of time and do a residential workshop - to invite Anup Baral and other teachers, to raise the expenses individually and to do a workshop with other young artists! I said to him, 'You come with a plan.' He made a plan, but for three months, he would sometimes go and do workshops for three months. The budget also turned out to be huge. Thinking that we should learn from each other, we made such a plan, which has not yet been completed.

is sometimes gifted and my speech is also there. After watching the movie, we directly say to each other that we liked the work/didn't like it. In films where both of us appear, most of the time he comes with prepared dialogues, speaks the dialogues memorized, and I improvise and speak in response. He says, 'It's fun to do this exercise with you.' I will amend it immediately. We should appreciate his contribution in

film field. A style of acting is guided by Sougat. Vipin Karki's way of working is different, different from Saugat. If you look at

in a subtle way, there is a difference in the way contemporary artists work. Among them, gifts have a special feature. There is a possibility that other actors can come in acting even if only his style is caught. Everyone may not know the name of the movie he acted in, but everyone knows the character he played in it.

Sougat is working hard on his part. Sougat should get a director with a vision to understand his potential. I envy Saugat's hard work and acting style. I can't do that level of work, I'm sure of that.

प्रकाशित : वैशाख १, २०८१ ११:०१
जनताको राय

प्रतिनिधिसभामा प्रधानमन्त्रीको सम्बोधनकै दिन शीर्ष नेता र सांसदहरूको उल्लेख्य अनुपस्थिति रहनुलाई के भन्नुहुन्छ ?