Kedar Shrestha is a multifaceted artist known as a theatre practitioner, filmmaker, and writer hailing from Nepal. With a rich background in various creative roles such as writer, actor, designer, casting director, producer, and director in both theatre and cinema, Shrestha has made significant contributions to the cultural landscape of Nepal.

As the founder and artistic director of Theatre Mall Nepal, Theatre Centre for Children (TCC Nepal), and Alliance for Children Film (ACF Nepal), Shrestha has been a trailblazer in promoting and developing theatre for children and participatory theatre in Nepal. His dedication to nurturing young talent is evident through the workshops and training programs provided by his institutions in acting, drama, story writing, storytelling, and filmmaking.

Shrestha’s involvement in international platforms, such as the Theatre Festival, Theatre Workshop, Artist Residency, and Director Seminar, showcases his commitment to representing Nepal globally. He serves as the general secretary of the Nepal Center of the International Association of Theatre for Children and Young People (ASSITEJ) and is a member of the organizing committee of the Nepal International Theatre Festival (NITFest).

Recognized for his contributions as a children’s author, Shrestha received the ‘Parijat Children’s Literature Manuscript Award’ and the Pattern Breaker Award from the Danish Culture Center (CKU) for his outstanding work in theatre. His debut directorial film, ‘Junu Ko Jutta (The Shoes of a Little Girl),’ received acclaim in over 50 international festivals, making it the first Nepali film to feature in the prestigious ‘International Short Film Festival-Oberhausen,’ where it received the Jury Award.

In this exclusive interview, Kedar Shrestha shares insights into his artistic journey, the inspiration behind his projects, and his perspectives on the current state of theatre and filmmaking in Nepal.

Journey into Theatre and Filmmaking:

Kedar Shrestha’s journey into the world of theatre began in his childhood, when he participated in cultural programs in his village. His fascination with theatrical plays during college marked the beginning of a lifelong love for drama. Inspired by the magic of storytelling on stage, he embarked on a career in theatre, driven by the belief that work one enjoys can become a fulfilling profession.

Transitioning into filmmaking and writing, Shrestha identifies as a storyteller seeking to explore different mediums. He attributes his venture into films to the desire for diverse storytelling experiences. The complementary nature of theatre and film in his creative pursuits highlights the synergy between the two genres, with each influencing the other’s creativity.

Establishment of a Theatre Mall and a Theatre Center for Children:

The inception of Theatre Mall Nepal reflects Shrestha’s vision to provide independent working spaces for young theatre artists. Formed after leaving a previous theatre group, Theatre Mall became a platform for creative freedom and expression. Simultaneously, Shrestha had already established the Theatre Centre for Children (TCC Nepal) with a commitment to fostering a unique theater space dedicated to children.

Driven by a passion for creating a positive impact on children’s personal and personality development through theatre, Shrestha’s institutions have become vital hubs for artistic training and expression. His involvement in the National Children’s Drama Festival and ASSITEJ underscores his commitment to promoting theatre for children nationally and internationally.

Focus on Children in Theatre:

Shrestha’s dedication to working with children stems from the belief that prioritizing children in society contributes to its prosperity. He emphasizes the role of theatre art in shaping the minds and emotions of children, fostering honesty, affection, and purity. The sincerity of children inspires him, and he views their involvement as a source of energy for his creative endeavors.

Shift to Filmmaking and “Junu Ko Jutta”:

As a storyteller, Shrestha’s foray into filmmaking was a natural progression. His debut short film, “Junu Ko Jutta,” serves as a testament to his deep respect for children. Crafted with heartfelt sincerity, the film resonates with audiences worldwide, earning accolades at over 50 international festivals, including the prestigious International Short Film Festival in Oberhausen.

Inspired by his love for children, “Junu Ko Jutta” tells a universal story that transcends cultural boundaries. Shrestha’s emphasis on emotional storytelling and his collaborative approach with the filmmaking team contributed to the film’s success on the international stage.

Challenges and Opportunities in the Nepali Film Industry:

Reflecting on the Nepali film industry, Shrestha acknowledges the challenges of limited resources and a relatively young film festival tradition. Despite these challenges, Nepali films have gained international recognition by participating in major festivals and receiving awards. However, he notes the disparity between international acclaim and local market recognition, emphasizing the need for societal appreciation of films as art and literature.

Film Studies and Artistic Growth:

Shrestha’s role as a film practitioner aligns with his belief in the importance of continuous learning. Being a practitioner contributes to both technical competence and the development of ideas, crafts, and styles. Shrestha encourages aspiring filmmakers to embrace a holistic approach that combines technical and social studies with practical experience.

The Role of Festivals in Cultural Exchange:

Festivals, whether in theatre or film, play a crucial role in cultural exchange and artistic collaboration. Shrestha highlights their significance as platforms for presenting diverse stories, fostering understanding among different cultures, and providing opportunities for learning and networking. He underscores the economic benefits of festivals, particularly in the context of tourism.

In Nepal, theater festivals, like NITFest, Lalabala Children’s Theatre Festival, National Children’s Theatre Festival, Kathmandu International Theatre Festival, Human Rights International Film Festival, Nepal Indigenous International Film Festival, Thaha Film Festival, etc. contribute to the cultural vibrancy. Similarly, film festivals such as the Kathmandu International Mountain Film Festival, Ekadeshma International Short Film Festival and the Nepal International Film Festival showcase the diversity of Nepali stories on the global stage. Shrestha is actively involved in organizing events like the Nepal International Children’s Theatre Festival and the Nepal International Theatre Festival.

Special Projects and Aspirations:

While Shrestha finds it challenging to single out one project as the most meaningful, he highlights the National Children’s Drama Festival, ongoing for over 14 years, as a significant achievement. Additionally, his debut film, “Junu Ko Jutta,” holds a special place in his heart, contributing to his recognition in the artistic community.

Current Landscape of Theatre in Nepal:

Shrestha observes a positive shift in the theater landscape in Nepal, with an increase in the number of theater houses, plays, and quality productions. However, he notes that these developments largely stem from private initiatives, as government interest in theater remains limited. Shrestha hopes for increased government support and investment in the arts to secure the future of Nepali theater.

Challenges and Solutions for Nepali Theatre:

Highlighting challenges, Shrestha emphasizes the need to protect individual and group efforts in theater. He calls for widespread theater and multicultural activities at the local level and stresses the importance of considering theater as a significant contributor to societal development. Shrestha urges a collective effort to establish theater as a unique and effective medium of art, emphasizing sustainability.

Engaging a Broader Audience in Theatre:

To attract a broader audience, Shrestha suggests diversifying theater genres, ensuring quality productions, and implementing effective publicity. He also stresses the importance of incorporating the art and production process into university courses, fostering a deeper understanding of theater as a visual language.

Hopes and Aspirations for the Future of Theatre in Nepal:

Optimistic about the future of theater in Nepal, Shrestha continues to take initiative and remains actively involved in theatrical activities. He hopes for a definite government policy towards art and culture, anticipating increased investment from both the central and local governments. Shrestha envisions a future where the government actively supports and nurtures Nepali theater.

Advice for Emerging Filmmakers and Artists:

Drawing from his own learning experiences, Shrestha emphasizes the importance of understanding the purpose and nature of the film. He encourages continuous study, both technical and social, and underscores the significance of practice. Shrestha advises emerging filmmakers to focus not only on producing art but also on selling and distributing it, given the current economic and political landscape.

Shrestha is currently busy in the post-production of his second writing/directing film, Junu Ko Ribbon (The Sweet Ribbon) and as a stage manager in the play The Rose (Design & Direction: Ram Hari Dhakal).
Kedar Shrestha’s journey is a testament to the transformative power of storytelling in theater and film. His dedication to promoting theater for children, nurturing young talent, and representing Nepal on the global stage reflects a profound commitment to the arts. As an artist, teacher, and visionary, Shrestha continues to shape the cultural landscape of Nepal, leaving an indelible mark on the future of theater and filmmaking in the country.

Article Compiled by: Rebika Bishokarma

Also Read: