Excellent in acting, proficient in writing

Dadhiram's heart is as hot as the sun. Its flowing radiance is burning him inside. Dadhiram's question in the film 'Mansara' after his second marriage is childless - is a husband-son only a blood relation? By asking himself this question, Dadhiram wants to quench the fire of his heart. In the mood Dadhiram is living in, he leaves a question to the society - doesn't ritual have any role in his mood?

- Praveen Khatiwada (41) is seen in the role of Dadhiram in the movie 'Mansara'. And, the audience is engrossed in his acting. Dadhiram and Praveen have some similarities in real life. 'Mansara' was shot in Nakhipot, Nakhkhukhola. There is a tradition of renting land and living on a farm, exactly as shown in the movies. Praveen had to lose weight to act in the film. He was 76 when he started shooting, later he dropped to 58 kg. Dadhiram's character in Mansara matches exactly with my family. My elder father rears buffaloes and cows. Like my role in the film, he also had two marriages, but married another one without children. The story revolves around me, I just had to portray it in the film,' says Praveen, 'so it became easy for me to become Dadhiram.'

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After leaving science and moving to Kathmandu to study journalism, artistry entered Praveen's life. While studying in college in 2057, Letang of Morang Skip the

. In the midday sun, a bus brought his desire to this dream-city. However, not journalism was waiting for him here - theater. Praveen's journalist brother Naveen Khatiwada lived in Ghattekulo, he lived with his brother. And joined journalism. One day in the year 2060, he reached Arohan Gurukul on the hill of Baneshwar across Dhobi Khola. Studying second year IA in Ratnarajya, he was also admitted in the second batch of the Gurukul. His acting journey started with Gurukul's famous play 'Agniko Katha' (2060) written by Abhi Subedi and directed by Sunil Pokharel. Then for 9 years he did sadhana in Gurukul.

'After reaching Gurukul, I recalled my life,' says Praveen, 'After that I thought - drama is my life. So much so that I realized late – drama is my genre.'When the Gurukul asked for 3 actors to stage a new play, 168 participated. Praveen, who had played 4 or 5 plays in school knowingly or unknowingly, joined the crowd. Luckily selected – Praveen, Ramhari Dhakal and Samuna KC. Praveen finally had to play the role played by Subhas Thapa and Anup Baral. Sougat Malla prepared him for the role, rehearsing it for a long time. Praveen practiced for 1 month under Saugat's guidance and stood on the stage of 'Agniko Katha'. The challenge was to protect the reputation of Anup Baral and Subas Thapa. Friends were complaining - why did it get the main role in the beginning? "I performed that play with great sadness," Praveen remembers that day. The writer Abhi Subedi said, "You are playing the role of your gurus."

After the 198th exhibition of 'Agniko Katha', Praveen realized - I have only been acting fake in the play, I don't like acting. "When I think about it now, I miss that time," says Praveen, "but that time made me a man." If I had not found such conscious people during that time, I would probably have failed.

When there was a Gurukul, they themselves cleaned from the toilet to the auditorium. It seems now, that time and that same routine taught him life, taught him to feel sensations. That period helped to set the play within the 'Graph of Emotions'. According to him, for a long time after 'Agni Katha', he played only 'partial roles'. He says, 'But that is also a learning platform for an artist. The process of character creation can be understood in terms of graphs.'

For many years he worked backstage – on lights, sets, sound and workshops. He used to be ready to act in his role when no character was asked to come. According to his experience, that time was the golden age of drama - 'Putli Ko Ghar', 'Agniko Katha', 'Panch Bhairav', 'Jat Sogunu Jogiko', 'Oedipus Rex', 'Caucasian Chalk Circle', 'Karnali Dakkhin Bagdo Cha', Great dramas like Elmmuniko Tirkha' were staged at that time.

After a decade of bringing the drama to a beautiful peak, the Gurukul finally collapses. Reading the Gurukul's profile is also reading Praveen's. The dream and future of the 40 drama-seekers connected there were also connected with the destruction of that dream place. A wonderful time has passed. Gurukul matches mature people. At that time I learned consciousness. Before reaching the Gurukul, I was nothing," sighs Praveen, "We lost a lot when the Gurukul was destroyed. The school of learning was destroyed. We pushed back a lot. If it had not been destroyed, would that place have progressed towards becoming a university of learning like Delhi's National Drama School?'

Gurukul's lights, books and set items some reached Biratnagar-Gurukul, some went to a flat in Shantinagar. Those things sat there for two years, Praveen. Rashoman is a drama created while waiting for goods. In the Nepali version of 'Rashoman' directed by Sunil Pokharel, Praveen's performance of Jabbare character is appreciated. After the collapse of the Gurukul, he started directing plays. The project that came through the Nepal Study Center was Howard Zinn's play 'Marx Returns'. The play directed by Praveen and staged at Nepal Pragya Pratishtha was well liked. That solo play was multicast by Praveen. While directing 'Marx is back', he realized that until now, only a bare study of Marxism has been done. "I have only taken Marx in terms of my father's ideals, but doing this play forced me to study Marxism," he says, "while directing this, I studied Marx and Marxism in depth."

Praveen has directed dramas like 'Dhruv', 'Mahadevko Baazi', 'Khalan Patwari', 'Hedda Gabler', 'Oo Kasko', 'Ek Boli Ek Daam', 'Sarzamin', 'Mimamsa', 'Vimoksha' etc. are And, 'Marx returned', 'Nyayapremi', 'Ghanchakkar', 'Pani Photo', 'Bagh Bhairav', 'Elmmuniko Tirkha', 'Khariko Ghero', 'Bathi Rani', 'Jat Sogunu Jogiko', 'Kaal' etc. He has acted in more than 3 dozen plays. Based on Shankar Lamichhane's story, 'Mimamsa' made him discuss his directorial aspect and got praise.

Praveen's first film is 'Loot'. He took charge of the casting and workshops of 'Loot'. He played as Mane in that film. The Gurukul was destroyed at the time of the release of 'Loot'. The young actors who were living in the despair of the drama-house collapse thought that we would end up with loot film Nach. 'Loot', which ran during 'Filmma Santakkal Lanaga', became a huge hit after the second week of its release. The film established 3 people – Saugat Malla, Dayahang Rai and Nischal

Basnet. Bipin Karki and Praveen were known as 'promising boys in cinema'. After 'Loot', he also worked as an acting-coach in films. 'Loot-2', 'Dhuwani', 'Bina Karana', 'Kalo Pothi', 'Pandit Bajeko Lauri', 'Jatra', 'Garuda Purana', 'Machamachha', 'Rangeli', 'Mahajatra', 'Uma' , 'Chatkal', 'The Red Suitcase', 'Mansara' etc. are the films he starred in.

Acting coach Michael Chekhov says - Characters are flying spirits, catch them and let them enter you. However, Praveen says that one should follow five principles in acting. "However, whatever technique we use, it is not outside the society," he said.

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Praveen's childhood village Morang, Letang was political. He used to see spice processions, red flags, Communist-RPP-Congress conflict. His father Ghanshyam Khatiwada, who was full-time in communist politics, was not at home most of the time. During the Panchayat period, his journey from underground to jail and home was like a normal routine. Praveen has also visited his father in jail. Remember – Bharat Mohan Adhikari was also there.

There was widespread rumor in the village, which grew up listening to rumors and rumours- Praveen and his brother. Rumor has it that if democracy was not restored in 2046, his father was on the death list. However, Praveen still remembers the days when he walked night after night carrying red vermilion with joy that his father had returned from prison.

Madan Bhandari was in the party led by his father. Madan's shelter was his home. From time to time he used to move around in different guises. The police who smelled that smell used to come to Praveen's house from time to time.

One day Praveen-Naveen found a book with photos of the Chinese revolution in the basement of the house. As if 'Chinese are coming', they sat at the window of the house and began to stir things up. Sir Chandra Prakash Gautam of the school who was walking on the road saw it. And, cursing, took the book away. 'I am still afraid of the police, because sometimes the police used to come to the house to raid and to the school,' he says, 'I think Chandra sir did the right thing.' He just joined the Communist Party. Praveen still remembers his grandfather interrupting his father by sitting in tea shops, courtyards and courtyards and saying, ``What kind of son-in-law have you got?''.

Ghanshyam Khatiwada, who rose as a People's Party candidate in the election of the Pradhan Panch after multi-party, lost by 3 votes, Praveen's uncle did not vote. Later won the 2047 borough president. Around 2050, the situation between the Congress and the Communists in the village was watered down. Praveen remembers that bicycle rally and torchlight procession very much. His father, who lost the Constituent Assembly election in 2070, won in the House of Representatives in 2074 and became an MP. Koshi is the state president of UML now. It was his father's politics that instilled in him the desire to read revolutionary literature like 'Agnidiksha' and 'Aama'. "The learning of those days seems to be working even now," he says.

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• • Praveen Khatiwada can now be called a writer if we add a new introduction after drama and film acting. Story collection 'Akathya' is his new published book. In these socio-political stories, Praveen narrates the stories of the villages he has seen. Village rivers, besaram bushes and atrocities on women in the bushes, stories of ghosts and ghosts told in the village, ghost stories and superstitions are the content of his stories. From acting to this stage of the story, Praveen has gone through many strange twists and turns of life. As many 'people' live in the theater, he enters into the private lives of those people and writes stories.

Today, Pranin is writing a story about the life of hills and Madhesh by mixing original colors from the geography of Letang i.e. Madhesh. Many stories of today's storytellers have people, but they are not connected to society. However, Praveen is seen complaining about the chaos of the society.

Praveen is walking on the path of the story, which is separated from our main path. As he is face-to-face with Jijivisha in theater and film and suffers the time of living, so he is expressed in these stories. He tells the story of Pagli Devkidevi Hamal in the story of 'Akathya' in 'Jijivisha'. She does not have citizenship, but the Pradhan Panch will issue citizenship in the name of Devkidevi before the electoral roll is compiled in the elections after 2046. In the village where every single vote is important, regardless of whether the election is held or not, the headman could win the candidate of his choice, that was the decisive vote - Devkidevi. In this way, he writes the intricate threads of village politics into stories. He has no self-infatuation and self-criticism, 'This expression is my responsibility, but I don't feel like I can fulfill that responsibility.'

He creates his own comfort zone. Through acting on the stage canvas, he likes to bring the groans and pains of the oppressed society to the center of the discourse. Theater and thought flow together – in Praveen's acting and life. People's struggles, dreams and life philosophy are the content of his plays. Reflection of society, sarcasm towards power are the rhythms of his acting.

theater and film is his own land. Does he return to his life through the path of acting or through the path of life to acting? It is difficult to say.