Nepali theater is a fertile ground for art and artists. Even in recent times, if we look at the field of art, from films to advertisements and music videos, the dominance of theater artists cannot be denied. There is a significant presence of audience members watching plays in theaters across the country, from Kathmandu.

While watching this, most people understand drama or theater only through the actors. But for a play to be powerful, competent and lively, as well as for the theater to be dynamic, not only the actors on the stage but also the artistic ability of the technical manpower in the background plays a major role. This is not seen to be taken into account by the artists involved in the art from the higher government bodies to the audience.

The stage design and construction of the play, lighting design and operation, costumes, music and sound design, coordination and operation, stage material design and production, poster art and graphic design, color decoration, choreography, all of these fall under the background.

Looking at the situation of technical manpower in Nepali theater, there is no formal education or regular educational classes in any technical subject of theater here. In Nepal, the technical manpower of theater is generally produced by conducting 5-day or 7-day intensive workshops. Because in Nepal, theater and the technical aspects of theater are not seen as a profession or a future.

In addition, the lack and condition of theaters in terms of numbers are the main basis for taking it as a profession. Due to the lack of information about theater, no one is found who understands its technical field and learns it to build a future. While working on acting as a basis in Nepal's theater, it seems that the technical field is also gradually understood or embraced due to lack. And, it still does not seem to be understood that this can be a profession or a future.

The main problem with the technical field in Nepal's theater is the lack of formal training and education on this subject. In fact, it is not seen as a priority in educational subjects because the importance and necessity of how the technical aspect gives meaning to the story are still not understood. Also, due to financial shortages, most theaters in Nepal have not been able to purchase and use the materials as needed.

A person working in the technical field can only advance his knowledge if he has the appropriate and necessary equipment. Working in this field also has its own joy. There is nothing as much joy as imagining something that suits the story on stage and conveying it to the audience in an artistic style by flowing with the rhythm of the story from technical matters.

Intensive workshops are being organized in Nepal from time to time. For such intensive workshops, instructors who have earned degrees in this subject from various other countries and have worked for a long time also share their knowledge. In the absence of that, those who are interested in working in plays have learned from the elders who have experience in it while working in them. Also, by participating in various national and international festivals, they get the opportunity to learn by watching and listening to the interactions and ideas of plays there. However, people who are interested in this do not get regular learning places or classes.

Nepali theater has become the main basis for keeping drama alive because it is operated by group organizations with their own spontaneous will. However, the situation of theaters operating in accordance with the requirements is very low. Government-run buildings such as Nachghar and Pragya Pratishthan are operated with the aim of generating economic income rather than bringing in technical equipment as per the requirements, which has created a situation of disappointment rather than learning from potential places.

If the government body understands these things and moves forward, then some hope can be had, otherwise, since all the technical equipment is brought from abroad, it is expensive and it seems inconvenient for group organizations. If the government supports group organizations and provides support without collecting revenue taxes when purchasing technical equipment, some relief can also be provided. If all these theaters have the necessary equipment and regular work is done, along with training, one can be optimistic that this sector can also be taken up as a profession in the future.

In foreign countries, there is not much manpower available from Nepal for technical knowledge. Ramhari Khanal, who went to Norway to gain academic knowledge on the subject, also comes to Nepal from time to time to provide training. In the current situation, it is seen that the technical needs and importance of theater are beginning to be understood more than in the past. It is beginning to be realized how much the technical aspect makes the play come alive. But this number alone is not enough. If we want to take theater seriously and make it sustainable, it can still be considered insignificant. Most people take it more easily, considering it only as a technical aspect than an artistic aspect. It remains to be explained that this is an artistic aspect.

The situation of technical manpower in Nepali theater is critical. We do not have enough trained manpower. The situation of considering it as a profession or future has not developed. Group theaters do not have the ability to contract experienced, knowledgeable technical manpower with appropriate salaries. Some theaters are moving forward with technical manpower, but there is a need to create trained manpower by arranging appropriate training for them. It will be difficult to find trained manpower in Nepali theater until all of this is in harmony. There are examples of some technical manpower migrating to another area or abroad after working for a long time because they are unable to make it into the future.

Hum BC, Suresh Karki, Rajkumar Pudasaini, Buddhi Tamang, Dev Neupane, Sajan Thapa, Ramhari Khanal, Rambabu Regmi, Sagar BC, Umesh Tamang, Milan Nepali, Rohit Poudel, Sagar Khati, Sanchita, Sumitra Pehim, Sarita, Binita Lama Gurung, Sebita Adhikari, Kripa Khadki, Jhaken BC, Vijaya Karki, Jeevan Baral, Jenny Sunuwar, Umesh Chaudhary, Mani Kulung Rai, Anurag Koich, Milan Khadka, Bal Bahadur Rai, Prem Chand Pandey, Kshitij Parajuli, Sanjeev Yogi, Sijan Dahal, Sujan Ghimire, Yangsang Mukarung, Shakti Rai, Suryaman Limbu, Mani K Rai and others are always making the drama come alive by staying in the background.