There is no comparison between theater and film. However, when it comes to female representation and participation, women are much more prominent in theater than in film. Theater has never limited women to supporting roles. Women have been trusted in powerful roles.

Therefore, breaking the standards, boundaries and traditional ideas of beauty set by the market, women have raised their strong voices on the stage and increased their powerful interventions. Be it acting, directing, writing or behind the scenes. The leap in theatre in terms of female participation is commendable. 

However, theatre artist Pashupati Rai says that this presence alone is not enough. ‘It is still difficult for women. No matter how much our society has changed, the way we look at women is still the same. Compared to men, women's participation may still be less. But compared to other fields, women are ahead in theatre,’ Pashupati sounded confident. 

Srijana Subba adds that women's participation in this field has increased because theatre gives equal space. ‘Compared to banks, business and films, women's participation in theatre is good. The number of women participating here is strong. If you look at it from the perspective of why they are better than others? Perhaps it is because they have good roots,’ Subba said. 

Once upon a time, it was a 'daunting' for Srijana and Pashupati to think of a career in theater. What was the time of Nisha Sharma, Sakuntala Sharma, Mithila Sharma, Suryamala Sharma, Chandramala Sharma like? However, Pashupati says that this field is now being considered as a career. Nisha Sharma, Chancellor of the Music and Drama Institute and theater artist, says that even though women have been given a place in the main character since her time, she sees a lack of such character portrayals. She says that the number of women is increasing in terms of participation. 'I used to get the main role in plays even when I was a child. Women were given the main character in my time. But now that practice seems to have decreased. However, in terms of participation, women's participation has increased,' said Sharma.

According to her, stepping into the theater at that time was 'deteriorating'. The narrow-minded idea that those who are illiterate and cannot find work enter this field also saw this field as a profession. Now, as people are understanding, the mindset has changed and its impact has been on women's participation, says Nisha. According to Pashupati, women's intervention in the theater has always been strong. The theater has always believed in them in strong roles. Actresses Vedang Rai, Pavitra Khadka, Sangeeta Oraon, Pavitra Rai, Sangeeta Thapa and other theater workers have been portrayed prominently in the strong characters of the women's stage.

With Mandala's commentary that 'you should tell your own story', Srijana Subba says that tribal women have started appearing in the main characters. 'We started telling our own stories. While telling the stories of the tribal people, we made tribal women appear in front. That is a new step taken by our theater,' said Srijana, 'Earlier, our society was telling the stories of only Parvati. But when Mandala sought the stories of the tribal people, tribal women were seen in the lead.' 

Theater worker Akanksha Karki says that women's attraction to theater has also increased recently as it has become a destination for films. ‘There has been a lot of enthusiasm and excitement in theater in the past few years. It is considered an easy way to start a career,’ says Akanksha, ‘Many come here as a stepping stone to films. The participation of women in theater seems to have increased dramatically. But, are they in a position to survive?,’ asks Akanksha. 

According to Sarita Giri, theater gives women the opportunity to play strong roles. ‘Theater has given women the opportunity to play characters that films have not played until now,’ says Sarita. Akanksha adds, ‘Even though films do not trust women for different roles, women have been cast in many characters in theater.’ However, sadly, these women who are seen in powerful characters on stage are still not trusted in the same characters in films.

From directing to writing, women’s issues 

Women’s participation in writing and directing is also significant. Compared to the past, there are more women directing now. During the time of Sarita and Pashupati, many people would lick their lips as soon as they hear a female director. However, now, when they meet Pashupati and Sarita, the same people ask, ‘When will you direct a play?’ Sarita says that the role of women in directing and writing has increased significantly with time. 

A recent example is Saraswati Chaudhary. Chaudhary, who made a comeback in directing after a long time, directed ‘Bahadurko Dantyakatha’ and was staged at Mandala Theater some time ago. Srijana Subba says that the background of women directing plays with strong voices has also diversified the theater. ‘Directors from different backgrounds bring out different voices. Perhaps the theater and the environment here have increased the courage to direct this kind of play,’ she said.

As Sirjana said, be it ‘Katha Kasturi’ directed by Diya Maske or ‘Mukkumlung’ directed by Pavitra Rai, the women’s issue was strong in the plays directed by these women. On top of that, it has added a touch of diversity. Be it ‘Shilpini’ directed by Bedana or ‘Sickroom’ directed by Akanksha Karki, these female directors brought up issues that were not spoken about in these plays and that society did not want to hear about.

Akanksha sees that after acting, women’s participation in directing has increased. However, she says that access to resources and an environment should be created to continue it. ‘There is a lack of resources for women directors here. Women do not have the nature to rush into directing without resources,’ said Akanksha, ‘Women think and plan before doing anything.’ Akanksha has experienced that women’s participation in writing is low. 

Sarita is happy to see the increase in women’s participation in directing. ‘Women’s participation in directing was low earlier. At that time, women were not given any place. Now, women's participation seems to be very strong,' she said, 'I see women's leadership in theater, be it in acting or directing.' 

Leading the theater from Nepathya 

Women have begun to shine not only in the light of the stage, but also in the darkness of Nepathya. Akanksha feels sad when she sees the increasing involvement of women in Nepathya, even if it is fragmented. 'In other places, the production head is a man. Here, only men are kept in the technical side. But, women are not trusted, they are not given that place,' Akanksha said, 'Women had to be trusted first for this kind of work. Only then will we know whether they can do it or not.' 

Now, women are also becoming empowered in the technical field, said the artist Sirjana. 'Nowadays, women operate lighting and sound. They operate music. There is very good participation, even in Nepathya.' 

Another theatre artist, Sevita Adhikari, confidently says that although ‘brothers’ used to interfere in the technical field earlier, now ‘sisters’ have started occupying that space. She herself is also active in production from behind the scenes. ‘My friend Vinita started operating the lights from Akanksha’s Lion.

Earlier, one should have called a brother in such work. Now, there are female friends. It makes me happy to see that,’ said Sevita, who is handling the production of Akanksha’s new play. She had previously handled the production of ‘Sickroom’. She is very happy to see not only herself, but also Shilpi from Pavitra to Sangeeta handling behind the scenes. ‘A project is good when you work with the idea that not only the stage, but also the back stage is equally important,’ says Sevita. 

Patience is needed to endure

Pashupati’s 21-year journey to the stage may sound easy to many. But Pashupati has faced many difficulties and challenges in this journey. Not being trusted because we are women is also a current problem. However, Pashupati says that the patriarchal society still puts women in a position where they have to prove themselves. ‘We are still not heard. We are still ignored. We are underestimated.

Now, men have been working as hard as men. We have also been working in the same way. Maybe, because we are women, our relationships and opportunities are less. But, we are not less than them in terms of ability,’ Pashupati says, ‘But, because we are women, they still do not trust us. They do not believe us. We have to constantly prove ourselves in the flock of roosters. Therefore, that courage and patience must be there.

‘Akanksha sees the need for a plan to increase women’s participation in this field and to provide protection to women in a policy manner. Since women are moving away from this field after marriage, she believes that the institution of marriage should be considered. ‘It is not that marriage should not be done at all. However, the way this society views women should change. If there is passion in theater, such people will survive. Next, the institution of marriage itself will have to be questioned,' she said.