Before they can say anything, police sirens blare on the street, and Raja enters the establishment's gate with a procession of vehicles.

The scene is a small field between a

mountain village. On one side of the ground there is an enclosure, in the enclosure there is a small stage. A huge audience has gathered around the stage. At the back of the stage, some are filling kerosene in mantola, some are arranging clothes, some are waiting for their turn by going to the curtain.

Just as the menthol light comes on the stage, the characters come on stage one after the other. The audience gets carried away with the characters – sometimes they laugh, sometimes they get emotional. The audience is engrossed with the character and emotions of the characters. The play ends, loud applause and whistles continue. The manthol light of the stage goes to the back. The actors hurry to unpack their belongings and the spectators carry lanterns and torches and go home like Junkiri laskars.

At that time someone's mouth says, 'This play should be brought to Kathmandu.' Who said that? No one cares, but that voice echoes in the ears and hearts of all actors and directors. That voice that resonated like the air, as easily as it resonated, was almost impossible to imagine even remotely. After all, the dream was a dream, no matter who saw it, it was a dream to fulfill it.

and the dream of reaching the capital with the drama 'Tuwanlo Dhakke Basti' created in Bunyo Dhankuta. What is the possibility of going to Kathmandu, where, how to show the play? Who to meet? Or there was no decision and confidence to stage the drama. Only one dream became, to show drama in Kathmandu.

scene two

The water has just turned off. The line of people has reached from Rajya Pragya Pratishthan to Kamaladi Ganeshthan. One of the people in the line says, "I only had to wait in line yesterday, have you got a ticket today?" At the same time, another person sitting in the line replies, "The king will come to see the play today!" It's difficult to get a ticket.'

Before they can get out of their mouths, police sirens sound on the street, Raja enters the establishment's gate with a procession of vehicles.

Today the actors seem a bit nervous. After the

drama is over, there is loud applause. Raja Birendra comes on stage, praises the play and takes pictures. Dhankuta's airy voice and that woven together dream come true.

scene There is an empty space between the three

settlements. Orange painted houses are standing tall. Dozens of policemen and city police are standing in a row in Pauwa standing together. There is an empty stage in the middle of the square surrounded by Hakupatasi, Rata, Nila, Green school dress, children, old and young people. Everyone is looking at the stage and waiting. From one side of the stage, two characters enter the stage playing strange instruments and singing in the Filipino language and say - Ariwowag .

They sing, act. Even if the audience does not understand the language, they laugh and laugh in their own language. Accordingly, plays in Indian, Korean, Bengali, Chinese and English languages ​​are staged and the audience is mesmerized. Local kumari dances, Newari dances are performed and foreign artists are mesmerized by the performances. Nepali-foreign artists and viewers laugh at home, rejoice at home, get emotional at home and lose themselves, crossing the boundaries of language and geography for hours. Applause continues from the audience and slowly a character enters the open stage from a corner of the audience and says -

'I always regretted one thing in my life, that when I supported my mother, I was fighting for democracy. At that time democracy was more important than mother. I continued to fight day and night in the fight and movement for democracy with plays and theatrical performances, but in the meantime, my mother was bothered by the fact that I could not do anything. Even though I couldn't do anything for my mother, today I feel that I have done something for the mother earth that I was born into.' Accompanying Hong Konger Mok Chiu hugs him and Bangladeshi Mamunur Rashid grabs the mike, waving the dosalla he is carrying saying, 'Ashesh Malla is a star of the world stage, not just Dhankuta'.

After a week in Kathmandu and three days in Itahari, the bit of the 'International People's Theater Festival' that came to Dhankuta is shot.

The same character repeated in all these scenes above is the playwright Ashesh Malla, who was the author and lead actor of the play 'Tuwanlo Dhakeke Basti' staged in this Dhankuta about 50 years ago. From Dhankuta 5 decades ago, Ashesh entered Kathmandu with a theater troupe via Dharan, Biratnagar and reached Kathmandu. After staging the play in Kathmandu, all the members of the play returned to the village, but Ashesh did not return. Malla had already seen Rangkarma's canvas, so he did not want to stay in Dhankuta and decided to stay in Kathmandu.

After joining Tribhuvan University, Malla expanded his painting and writing. Today Ashesh took the World Theater to Dhankuta via Kathmandu, Itahari.

At that time, the journey from Dhankuta to Kathmandu was challenging. There were no acquaintances in Kathmandu, nor travel expenses! Nevertheless, Malla persuaded the president of the cultural community, Omkar Shrestha, elevated the director Upendra Dhuqi, finally persuaded all the actors. Under the leadership of Omkar, a theater troupe including Upendra Dhughi, Gopi Shrestha, Mahesh Amatya was formed to chart the way to the capital.

It was the Panchayat period, there was no freedom of speech, the dialogues of plays were used in the capital, even though he came to Kathmandu from Dhankuta, the play was not finalized.

There was no hope of the destination of the dream, but the hope and ambition to reach the capital had already touched the sky. And the drama troupe put away their clothes and props and set off on foot towards Dharan. All the actors arrived in Dharan after two days of walking. The dream of reaching Kathmandu was broken due to fatigue and uncomfortable stay, but as soon as they entered Dharan, Mukesh Malla and Upendra Pagal had made a poster of the play on a big canvas, upon seeing the poster, everyone's throats and knees were filled with strength.  The

poster was written - New Kalakar Cultural Community Theater Group's performance of the play 'Tumwalole Dhakke Basti', location Shiv Takiz, Dharan. After staging two shows in Dharan, the play received great love and response from the audience. The money raised from the ticket filled the bag for travel expenses. The drama troupe was encouraged by the response received in the city by the play performed in the village and again carried pokopunturo and headed towards Piratnagar.

After a show in Biratnagar, the destination moved towards the capital. After one day's stay in Terai, the team reached the capital. Where will the Lakhtran theater troupe stay for weeks of travel? Didn't care. Finally found a hotel in New Road. Coincidentally, that hotel belongs to playwright Vijay Malla.

scene four

In the deserted room of the office, the member secretary is sitting on a chair and staring at the person sitting on the bench with his hand on his chin. The Chuiyya door slowly opens, Pale brings tea from the door - puts it on the table and orders Member Secretary Pale to 'bring tea to them too'. All four of the drama team take a deep breath. Musukka smiles and asks, 'Really from Dhankuta?' "Sir" says a man with a long hair and a chubby face. He paves the way enthusiastically. The member secretary is surprised to see her enthusiasm and asks, 'What is your name? What is your role in the play?'

'Mr Ashesh Malla. I am the author and the main actor of the play.' After seeing the enthusiasm of the group, Joshi arranges the hall so that half of the ticket proceeds go to the foundation and half to the drama team. Prachanda immediately calls Malla and Harihar Sharma and orders the theater troupe for technical support and facilitation. This team, who dreamed of bringing the play to Kathmandu, finds it hard to believe that 'is it a dream or a dream?'

scene five

The door to the great hall of the establishment opens, the light outside the door enters the hall. A single person enters the hall through the door. After everyone enters, the stage lights flicker on and on, the performers are watching.

A theater troupe performing on a small stage in Dhankuta feels like an institution's stage. Actors disappear on stage. Eyes that have been dramatized in menthol are tingly. Actors who enjoy drama because of lack and desire are surprised to see that there is so much technology in drama.

scene six

There was a rumor in town. In Dharan, a poster made on canvas by friends Mukesh Malla and Upendra Pagal was hanging on the Peopleboat at New Road. Today was the first day of the play and the more excited all the actors were, the more nervous they were about how the play would turn out. Ashesh Malla with a sad face was standing near the ticket office of the

establishment. A tall man wearing a coat and pant and a black cap came and asked, 'The artist from Dhankuta?' He paid for the ticket and went to the hall. The employee looked at Malla and smiled, 'You are lucky, the first audience of your play was Balkrishna Sam.' Established drama group 'Sarvanam'. The drama, which was limited only to the halls of palaces and institutes, was brought to villages through street dramas. Played a leading role in achieving democracy through writing and drama. Parties were banned at that time, but Malla always defied power through drama. He was beaten up by the then panchayat and jailed for acting. He was warned not to play, but Malla Abiram continued to write plays and plays.