Revival of Theater(Shilpee Theatre)

Tucked away in Battisputali, Kathmandu, Shilpee Theatre is more than just a stage, it’s a living, breathing space where art becomes therapy and storytelling becomes resistance. Established in 2006, it functions as both a creative laboratory and a community refuge, rooted in equity, honesty, and social awareness. From experimental plays like Coma: A Political Sex to open-air performances in rural Nepal, Shilpee challenges norms while creating space for healing and dialogue. Here, children perform, parents reflect, and audiences linger not just to watch a play, but to connect, decompress, and rediscover the power of presence.

 

In conversation with Ghimire Yubraj, co-founder of Shilpee Theatre

 

1. Shilpee Theatre where art lives and breathes, how would you describe your core philosophy as an artistic space?
   Firstly, we practice equity and equality within ourselves in this space. Within the theatrical team, we firmly reject superstition, discrimination, and manipulation. This is a laboratory where we strive to develop ourselves and challenge traditional mindsets. We, the team members, are wise enough to resist socio-political taboos. Afterwards, any creation we produce will help audiences to heal. It is a breathing space for people where no one will judge them - no mental dictators, no CCTV cameras. It could be a shared space, or a zone of silence for those who are exhausted by the noise outside themselves.

2. Your recent play - ‘Lost and Found’ is touring Europe this summer. What emotional or social message do you hope this play will carry to Nepali and non-Nepali audiences abroad?
   I believe that only art and literature have the power to deeply connect people across cultures. Through Lost and Found, we want European audiences to witness our stories and the richness of our storytelling tradition. When we understand each other’s joys and sorrows, we begin to see both our differences and our shared humanity. That kind of empathy can move us toward peace, something only art and literature can truly nurture.. BOX TEXT!!! Use with poster of play - lost and found

 

3. Among all your plays, is there one that you’d call the heart of Shilpee - something that still lingers in your memory or continues to move audiences deeply?
   There are many! A Play, written by Kumar Nagarkoti and directed by me, Coma: A Political Sex, was an experimental shock to the audience. Snow: Journey Into the World, brought physical dynamics to the stage. For me, a play written by Bhisham Sahni and directed by Tanka Chaulagain helped redefine the popularity of theatre. Bimokshya and Lost and Found became thought-provoking plays. These are some plays I would like to re-stage.

 

And beyond that, our open-air performances constantly echo in my mind, constantly boomeranging-they have a life of their own!

4. Shilpee is a space where people don’t just watch a play, but stay afterward for a cup of coffee, conversation, and reflection. How important is this decompression and connection time to the theatrical experience?
   It’s incredibly important. People crave creative spaces where they can not only be entertained but also discover something new - whether it’s food, drink, music, a play, or even a new perspective. Shilpee offers that space for exploration and connection. That’s why having an artistic hub like this in every community isn’t just valuable, it’s necessary.

5. Why do you think people especially the youth are being pulled back toward live performances today?
   As the global market grows more influential, people are becoming more individualistic. Yet ironically, this has created a deeper longing for public spaces. Young people, in particular, are looking for places to connect where they can meet others, make friends, or even fall in love. It’s a sign of shifting values, like moving away from traditional arranged marriages toward self-discovery and choice.

Even if you have a modern kitchen, you still go out to eat. Your living room might feel like a mini theatre, with music, books, and streaming at your fingertips but eventually, isolation wears thin. People want real experiences. That’s why they go to concerts, parties, or gatherings. They crave the presence of others, the energy, the touch, the shared atmosphere. And because of that, some of them end up coming to the theatre.

 

6. Shilpee has taken theatre beyond the walls, literally. What draws you to open-air community theatre in rural areas?
   Any form of art can connect with people in two ways: either people come to you, or you go to them. I believe art should always go to the people. When you invite people, only some will come but many will be left out.

 

Indoor theatre has turned into an elite culture. The walls of the theatre have always kept people away. But theatre shouldn’t exclude anyone. That’s why I want to bring theatre to the people, to a place with no walls.

 

Anyone should be able to come and watch our plays. At least for a short time, the audience forgets about gender, caste, religion, class, and skin colour. They sit together and watch the play. I haven’t seen a greater impact than this, especially in these violent and divided times.

 

7. Shilpee is one of the few spaces in Kathmandu where children and parents can come together not just to watch but to participate in theatre. How does this shared experience transform family dynamics?
   We need more creative playgrounds for children, with literature and art that speaks to diverse groups of kids. Many parents in Kathmandu are tired of taking their children to the same limited places. They appreciate the chance to bring their children to a children’s theatre, it’s something fresh and meaningful.

This experience lets parents see their child from a new perspective, discovering strengths and sparks they might not have noticed before. Being present in their child’s artistic world deepens their connection. Plus, while waiting, parents get to connect with others on similar parenting journeys, creating a supportive community that enriches their own experience.

 

8. How does performance become a form of therapy not just for the audience, but for the performers themselves?
   “The act itself stimulates the artist.” People want to laugh freely people want to cry shamelessly people want to be surprised or people want to find similarities of their pain as others. For performers and audiences alike, theatre helps us relate, release, and work through psychological struggles. It’s a powerful space for connection and recovery and a healing process.

9. You’re also deeply involved in theatre literature and documentation. How important is it for performance art to be archived, read, and studied not just experienced in the moment?
   The archive itself becomes a school or university. Without archiving theatre, no new generation will blossom. If there is no history, there will be no development of art and theatre. We always learn from history what our ancestors did and develop new ways of storytelling. At the same time, cultural and theatrical archives provide significant knowledge for understanding society as well.