The Role of women in Nepali Drama

( A case Study of Nepali theatre )

A Report submitted to

The Department of Sociology, Gramin Adarsha Multiple Campus, Nepaltar, Kathmandu,

Tribhuvan University, Nepal
In Partial Fulfillment of the Requirement of the paper Research Design and Writing (SA
599), 4th Semester, for The Master’s Degree of Arts in Sociology

Submitted by
Rabin Tamang
Symbol No.: 28432015
Roll Number:22
TU Registration Number: 6-2-40-471-2017
Faculty of humanities and Social science
Tribhuvan University
2080

1
 LETTER OF RECOMMENDATION

This is to certify that Rabin tamang has completed this dissertation entitled “The Role of women in
Nepali Drama” under my supervision and guidance. This is an original research work and I
recommend this dissertation for final approval and acceptance by the dissertation committee.

………………………………..

Ramesh Chandra Adhikari

Supervisor

Department of Sociology

Gramin Adarsha Multiple Campus, Nepaltar , Kathmandu, Nepal

Date: ……………………

+
APPROVAL LETTER

This is to certify that MR Rabin tamang conducted this research entitled “The Role of women in
Nepali Drama”This research is prepared as a partial fulfillment of the requirement for the Master‘s of
Arts (MA) in Sociology from Gramin Adarsha Multiple Campus Tribhuvan University. This
research has been accepted and recommended for the final approval.

2
…………………………………..

Supervisor

Ramesh Chandra Adhikari

……………………………………..

External Examiner

Dr.Gokarna Gyawali

…………………………………………………..

Head of Department

Bishnu Pokhrel

Date: …………………………………………..

ACKNOWLEDGEMENT

This study has been completed with the help of many individuals and institutions and my
acknowledgement goes to all of them. For genuinely sharing their experience and insight with the
study, I would like to express my sincere gratitude with deep appreciation to all the respondents nepali
theatre house without their support and cooperation, this study could never have been completed. For
the cooperation and guidance during the whole research, I would like to give special thanks to all the

3
teachers of Gramin Adarsha Multiple Campus. It is a sense of Honor and pride for me to place on
record my sincere thanks to our Supervisor gokarna gyawali for their support.

I would like to thank my friends for their help and support during the study .At last, I would like to
thank all those who have directly or indirectly helped me to accomplish my research in the best way.

CONTENTS

LETTER OF RECOMMENDATION i

LETTER OF APPROVAL ii

ACKNOWLEDGEMENT iii

CONTENTS

LIST OF TABLES vii

LIST OF FIGURES viii

ABBREVIATIONS ix

CHAPTER I

INTRODUCTION

1.1. Background of the Study 10

1.2. Statement of the Problem
1.3. Objectives of the Study 12
1.4. Significance of the Study 12
1.5. Limitation of the Study 17

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CHAPTER II

LITERATURE OF REVIEW 19

CHAPTER III

RESEARCH OF METHODOLOGY

3.1. The Study Area 19

3.2. Study Design 19

3.3. Universe and Sampling 20

3.4. Nature and Source of Data 21

3.5. Tools for Data Collection

3.6. Data Presentation and Analysis of Data 25

CHAPTER IV

SOCIO - ECONOMIC CONDITION 33

4.1. Social Status

4.1.1. Age Wise Distribution 34

4.1.2. Caste of the Respondents 35

4.1.3. Religion of the Respondents 36

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 25

CHAPTER

SUMMARY AND CONCLUSION

5.1. Summary 38

5.2. Conclusion 38

5.3. Recommendation 39

REFERENCES28

CHAPTER ONE

INTRODUCTION

1.1 General Background:

The history of theatre in Nepal is deeply intertwined with its cultural and religious heritage, dating
back centuries. Traditional Nepali theatre forms have roots in rituals, folk dances, and storytelling
traditions that have been passed down through generations. One of the earliest forms of theatrical
expression in Nepal is the "Lakhe Dance," which is still performed today. This dance is often
associated with the Newar community of the Kathmandu Valley and is performed during festivals

6
 and cultural events. It features performers dressed as deities, demons, and mythical creatures,
engaging in energetic movements accompanied by music and chanting.Another significant
traditional form is "Maaruni," a type of folk theatre performed in rural communities during
religious ceremonies and social gatherings. Maaruni often incorporates elements of song, dance,
and dialogue to depict stories from Hindu mythology or local folklore.In addition to these
traditional forms, Nepali theatre has also been influenced by external sources, such as Indian and
Tibetan performance traditions. Over time, Nepali theatre has evolved to include modern plays,
influenced by Western drama and addressing contemporary issues.Theatre in Nepal gained further
prominence during the Rana regime in the 19th and early 20th centuries, whe/n the ruling elite
supported the development of drama as a form of entertainment and cultural expression. However,
it wasn't until the mid-20th century, with the advent of democracy ?an0/d increased literacy rates,
that theatre truly began to flourish as a means of social and political c1ommentary.Since then,
Nepali theatre has continued to evolve, with playwrights, directors, and actors exploring a wide
range of themes and styles. Theatre festivals, workshops, and educational programs have also
contributed to the growth of the theatre community in Nepal, providing platforms for artists to
showcase their work and engage with audiences.Today, theatre remains an integral part of Nepali
culture, offering a space for reflection, dialogue, and artistic expression within the diverse
communities of Nepal.
Nepali theatre has a rich history, and women have played significant roles in shaping its
development and growth. While traditional Nepali theatre, like many other cultural forms, might
have been male-dominated in the past, women have increasingly become involved in various
aspects of theatre, including acting, directing, playwriting, and production. Here are some notable
aspects of women's contributions to Nepali theatre:Women have been actively involved in acting
in Nepali theatre productions, portraying diverse characters and showcasing their talent on stage.
They have contributed to both traditional and modern theatrical performances, portraying a wide
range of roles from mythological characters to contemporary figures.Women playwrights have

7
 emerged in Nepali theatre, bringing their unique perspectives and experiences to the stage. They
explore themes such as women's rights, social issues, and cultural traditions through their works,
contributing to the diversity of Nepali theatre repertoire.
Women directors have made their mark in Nepali theatre, bringing innovation and creativity to
productions. They have helmed various theatrical projects, ranging from traditional plays to
experimental performances, and have contributed to the evolution of Nepali theatre aesthetics.
Nepali theatre has served as a platform for raising awareness about women's issues and advocating
for gender equality. Women playwrights, directors, and actors have addressed topics such as
gender discrimination, domestic violence, women's empowerment, and social justice through their
work, sparking important conversations within Nepali society.Despite their contributions, women
in Nepali theatre have faced challenges such as gender bias, limited opportunities, and societal
expectations. However, there has been progress over the years, with increased recognition of
women's talents and efforts in the theatre community. Organizations and initiatives supporting
women in the arts have also helped create more inclusive spaces for female theatre practitioners.
Overall, women continue to play an integral role in shaping the vibrant and diverse landscape of
Nepali theatre, contributing their creativity, passion, and perspectives to enrich the cultural
heritage of the country.

1.1 Statement of Problem

For the cultural development of Nepal and for awareness and inclusiveness, there is a need for
women in the theater, but there are some problems that are serious. Researching about these same
problems is what women have to deal with Despite their significant contributions to Nepali
theatre, women continue to face various challenges and barriers that hinder their full participation
and recognition in the industry. These challenges include:

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 1.Limited Opportunities : Women often encounter fewer opportunities compared to their male
counterparts in terms of acting roles, directing positions, and opportunities for playwriting and
production.

2. Gender Bias and Stereotypes: Gender bias and stereotypes persist within the Nepali theatre
community, affecting women's access to roles, resources, and recognition. Traditional gender
norms and expectations may influence casting decisions and perceptions of women's abilities in
theatre.

3. Socio-cultural Constraints: Socio-cultural factors, such as societal expectations regarding

women's roles and responsibilities, may discourage women from pursuing careers in theatre or
limit their involvement due to family obligations and cultural norms.

4. Lack of Representation: Despite the diverse experiences and perspectives of women in Nepali
society, their voices and stories are often underrepresented on stage. This lack of representation
limits the diversity of narratives and characters in Nepali theatre.

5.Institutional Barriers: Structural barriers within the theatre industry, including funding
constraints, institutional biases, and a lack of support networks for women, can impede their
advancement and professional development.

Addressing these challenges requires a concerted effort from various stakeholders, including
theatre practitioners, policymakers, cultural organizations, and civil society groups. Strategies to
promote gender equality and empower women in Nepali theatre may include:

9
 - Creating more inclusive casting practices and opportunities for women in acting, directing,
playwriting, and production roles.
- Challenging gender stereotypes and promoting diverse representations of women's experiences
and identities on stage.
- Providing training, mentorship, and networking opportunities to support the professional
development of women in theatre.
- Advocating for policies and initiatives that promote gender equality and address systemic
barriers within the theatre industry.
- Fostering collaborations and partnerships to amplify women's voices and stories in Nepali
theatre, including initiatives that prioritize the work of female playwrights, directors, and
performers.

By recognizing and addressing the specific challenges faced by women in Nepali theatre,
stakeholders can work towards creating a more equitable and inclusive environment that celebrates
the diverse talents and contributions of all theatre practitioners, regardless of gender.
1.2 objectives of the study:

The objectives of a study on women in Nepali theatre could be outlined as follows:

1. To Explore the Participation of Women in Nepali Theatre: The study aims to investigate the extent
of women's involvement in various aspects of Nepali theatre, including acting, directing, playwriting,
and production.

2. To Examine the Challenges Faced by Women in Nepali Theatre: The research seeks to identify and
analyze the barriers and constraints that women encounter in their pursuit of careers and opportunities

10
in Nepali theatre, including issues related to gender bias, stereotypes, socio-cultural norms, and
institutional barriers.

3. To Understand Women's Experiences and Perspectives in Nepali Theatre: The study aims to capture
the lived experiences, perspectives, and aspirations of women practitioners in Nepali theatre, exploring
how their gender identities intersect with their professional journeys and artistic practices.

4. To Assess the Representation of Women in Nepali Theatre: The research seeks to evaluate the
portrayal and representation of women's stories, characters, and voices in Nepali theatrical productions,
examining the diversity and inclusivity of narratives presented on stage.

5. To Identify Strategies for Promoting Gender Equality and Empowering Women in Nepali Theatre:
The study aims to propose recommendations and interventions to address the challenges faced by
women in Nepali theatre and promote greater gender equality and inclusivity within the industry. This
may include initiatives related to casting practices, mentorship programs, advocacy efforts, policy
interventions, and community engagement.

1.4 Significance of the study

Presence of women in Nepali theatre

It is not that weak, but some problems are visible. Roles and problems and awareness can give other
young people a new path in the coming days and attract the attention of the concerned and not only
that.

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The significance of a study on women in Nepali theatre lies in its potential to address pressing social,
cultural, and artistic issues while advocating for greater gender equality and inclusivity within the
theatrical landscape of Nepal. Here are several key aspects of the study's significance:

By examining the participation, challenges, and experiences of women in Nepali theatre, the study can
contribute to efforts aimed at promoting gender equality within the cultural sector. It highlights the
importance of providing equal opportunities and support for women practitioners in all aspects of
theatre production. Overall, the significance of the study lies in its potential to drive positive change,
foster inclusivity, and empower women practitioners within the vibrant and dynamic theatrical
community of Nepal. By recognizing and addressing the specific challenges faced by women in Nepali
theatre, the study contributes to building a more equitable and thriving cultural sector that celebrates
the diverse talents and contributions of all its members.

1.3 Limitation of the study:

While a study on women in Nepali theatre holds significant importance, it's essential to acknowledge
and address potential limitations to ensure the validity and reliability of the research findings. Some
potential limitations of such a study could include The study's sample may not fully represent the
diversity of women practitioners in Nepali theatre due to limitations in recruitment methods, access to
participants, or geographic constraints. This could lead to biases in the data collected and affect the
generalizability of the findings.Women from marginalized communities or those facing intersecting
forms of discrimination may be underrepresented in the study, limiting the inclusivity and
comprehensiveness of the research findings. Efforts should be made to ensure that diverse voices and
perspectives are adequately represented. Language barriers may hinder the participation of women
practitioners who are not proficient in the language(s) used for data collection or analysis, potentially
excluding valuable insights and experiences from the study

CHAPTER-TWO

12
 REVIEW OF LITERATURE

A review of the existing literature on women in Nepali theatre provides valuable insights into the
historical context, challenges, achievements, and contributions of women practitioners within the
theatrical landscape of Nepal. Here's an overview of key themes and findings from the literature:

1. Historical Perspectives. Early studies may examine the historical roles and representations of
women in Nepali theatre, tracing the evolution of gender dynamics within the industry over time. This
includes an analysis of traditional performance forms, such as Bhavai and Maach, and their portrayal of
female characters.

2. Representation and Visibility: Studies often highlight the representation and visibility of women in
Nepali theatre, exploring issues of gender bias, stereotyping, and the underrepresentation of women's
voices and stories on stage. Researchers may analyze theatrical texts, productions, and casting practices
to assess the portrayal ofwomen characters and the extent to which they challenge or reinforce gender
norms.Future Directions and Recommendations**: Finally, literature may offer recommendations for
future research, policy, and practice to address the challenges and gaps identified in the study of
women in Nepali theatre. This includes calls for greater collaboration, inclusivity, and accountability
within the theatre community, as well as strategies for amplifying women's voices, fostering
mentorship opportunities, and promoting gender-sensitive programming and leadership.

Overall, a review of the literature on women in Nepali theatre provides a comprehensive understanding
of the complex dynamics, issues, and opportunities shaping women's participation and representation
within the vibrant and diverse theatrical landscape of Nepal.

CHAPTER-THREE

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 RESEARCH METHODOLOGY

Research Methodology

The procedure used for the current investigation is covered within methodology. It explains the
sampling process, the type and source of data collecting, the study design, data analysis techniques,
Research methodology is the way through which researcher need to conduct their research. It shows the
path through which researchers formulate their problem and objective and present their result from the
data obtained during the study period. In this section I briefly describe how I approached this research,
and my motives and choices concerning the research methods used to answer the research question. To
investigate the dynamics of conflict a methodology is required which facilitates analysis of behavioural
patterns, perceptions causes, interrelations and interactions among the factors. Hence, my
methodological approach is a sociological interpretative study based on the fundamental connection
between context and practices of daily social life of the actors and their strategies, maneuvers,
discourses, and struggles

3.1 Research Design:

The research design of the present study is analytical, comparative and graphic study approach. A
descriptive cross sectional approach was applied in order to analyse and interpret the quantitative and
qualitative data collected from concerned field. In order to explore the dynamics of conflict in society,
mentioned, the main objective of the study is to find out The Role of women in Nepali Drama The
theoretical perspective and the research problem itself influenced the choice of the researchThis study
will methods and technique of qualitative research were used to collect the required information. The
primary data and secondary data both have been used to find the objectives. Research design is
highlighted for ascertaining the basic objectives of the study. It includes definite procedures and
techniques, which guides to sufficient way for analysing and evaluating the study. As already be

14
 carried out based on descriptive and exploratory research design because the study will be focused on
investigating the nepali theatre there are many private theatre in Nepal also Kathmandu seven theatre
group . they work there own play drama production every mounth there worked with many women
arstist .from there experience I can collect data .

3.3 Universe or Sampling size:

The study population of this research was the women of nepali theate based on kathmandu city is a
part of bagmati Pradesh, is one of the seventy- seven districts of Nepal. The artis came their from all
over Nepal . there was 100 over women theatre artis in kathmandu city. The unit of analysis of this
study was individual level. We use simple random sampling method because each individual has the
same probability of being chosen at any stage. Due to this, it was easy to obtain more precise estimate
for study area. It is an unbiased surveying technique. The population of aged 17-50 women took part
on our survey whereas we were planning to capture the age group between 20-65. The sample size
estimated for the survey is 20. By using formula:

(N=z2pd/d2)

where,

N= desired sample size

Z= standard normal deviate, usu

N= desired sample size

Z= standard normal deviate, usually set at 1.96 which correspondent to 95% confident level.

P= proportion in the target population estimated to have a particular characteristics. If there is no

reasonable estimate, we can use 50% which is 0.5

Q= 1-P (proportion in the target population not having the particular characteristics)

D= degree of accuracy required, usually we can set 0.05 level. (Occasionally at 2.0)

3.2 Selection of the Study:

The study mainly focused on the nepali theatre mandala theatre, Aarohan gurkul ,shilpee theatre,
theatre mall , ojas theatre , shailee theatre, sarwanam theatre ,rastiya nachghawomen worr studio

15
theatre , there are many women worked on theatre and they also meanly worked there . they have more
stories experiences. mainly research focusd on types of challenges problems they can face .

3.3 Nature and Source of Data:

In this study, primary and secondary data are mostly women theatre practitioner Artist's condition,
system, challenge and success. We got this information by directly interacting with the artists. In
Kathmandu, most of them come from outside the district with the dream of becoming an artist and how
many artists are continuing their education. He says that coming forward with his destiny is full of
choice, he says that it will not be a lot of drama, and it will be a little difficult to make a living from it:

3.4 Data Collection, Tools, and Techniques:

Data collection techniques refer to all different tools, methods, and techniques used to accomplish
either quantitative or qualitative data. Single methods technique used in research is based on multi-
methods or mixed methods. Research methods are employed through questionnaires, interviews,
observation, and so on. The collected data and information through primary as well as secondary
sources correspondingly have been tabulated, categorized, and analyzed by using mathematical and
statistical tools like tabular graphs, mean, percentage

3.5 Universe of Sampling Size

The study focus on Kathmandu theatre . with there working artist selected through simple random
sampling. This method ensures an unbiased surveying technique for precise estimates.

3.6 Reliability and Validity of Data:

The study maintains reliability and validity by using tested and retested questionnaires. The tools are
designed under the supervision of the research supervisor, ensuring clarity and trustworthiness.

16
3.7 Data Analysis and Interpretation:

Collected data are analyzed using SPSS, MS Word, and MS Excel. Mathematical and statistical tools,
such as tabulation, percentage mean, frequency, and graphical presentations, are employed for analysis

References

2019 April 18 — Later she was Radio Nepal... At that time, the female actors involved in drama could
be counted on the fingers. (Three stories of violence against women in the play 'Trayam')
A Survey of Women's Writing in Nepali Literature
Women were afraid to act
We were three sisters together on stage – Chandmala, Nisha and me. No one treated us badly.
Female actors in Nepali theatre, some misery and some fun
Rangamanch samiksha (theatr analysis) july 2013
Gaauma theatre /theatre in village (2012
Appendixes

Role of women in Nepali drama QUESTIONNAIRS

1. General information

a. Name………………………………………………………..
b. Age…………………………………………………………..
c. Birth place………………………………………………….

17
 d. Time to enter the drama field…………………………….

2 what was your education level?

a) slc b)+2 pass

c) bachelor c) master

3 How did you get the inspiration to enter the theater field?

a) self b) relative

4. Someone has done a casting couch ?

a) yes b) no

5 .the family are supportive ?

a) yes b ) no

b) little bit c ) I don’t know

6.you can survive from theatre?

a) yes b ) no
7) How does society look at you ?

a) good b) bad

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 c) I don’t care ( I don’t know

8 ) you got depressed while working on art ?

a) yes b) no

10 ) what is theatre in your eyes ?

………………………………………………………………………………………………………
………………………………………………………………………………………………………
………………………………………………………………………………………………………
………………………………………………………………………………………………………
………………………
11) the problem of being a woman in theatre ?
………………………………………………………………………………………………………
………………………………………………………………………………………………………
………………………………………………………12) how do you find the role of a woman in
a play?
………………………………………………………………………………………………………
………………………………………………………………………..
Appendixes

Role of women in Nepali drama QUESTIONNAIRS

2. General information

19
Name:Ramila Moktan
Age: 26
Birth place: ramechhap
Contact no : 9823200458
Time to enter the drama field: 5 year

3 what was your education level?

20
 c) bachelor

3 How did you get the inspiration to enter the theater field?

b) self

4. Someone has done a casting couch ?

a) yes

5 .the family are supportive ?

c) little bit

6.you can survive from theatre?

a) yes
7) How does society look at you ?

c) I don’t care

8 ) you got depressed while working on art ?

b) no

10 ) what is theatre in your eyes ?

Certainly! Theatre is a form of performing arts that involves live performances by
actors on a stage, often in front of an audience. It encompasses a wide range of genres,

21
 styles, and formats, including dramas, comedies, musicals, experimental performances,
and more. Here are some key aspects about theatre and plays .which is express of live
and journey there can do experience all about earth

11) the problem of being a woman in theatre ?

The challenges faced by women in the theatre industry are multifaceted and continue to
evolve. Some of the key issues include:
Underrepresentation in Leadership Roles Women are often underrepresented in key
leadership positions such as directors, producers, and artistic directors. This lack of
representation can lead to a lack of female perspectives in decision-making processes and
perpetuate gender inequalities within the industry.

12) how do you find the role of a woman in a play?

Mostly in theatre women get chance and role like week leady poor lady and dominating
character . which is leading from society and male character I think
It’s came from our society and male mind. now days many woman writer and director
changing writhing patron and thinking prospective society going on better way and
woman role their identity being powerful .

22
2

Name : sanumaya tamang

Age : 20
Address: ramechap
Theatre : ojas theatre

9 what was your education level?

c) +2

3 How did you get the inspiration to enter the theater field?

c) self

4. Someone has done a casting couch ?

23
 a) no

5 .the family are supportive ?

B yes

6.you can survive from theatre?

a) self

7) How does society look at you ?

c) I don’t care

8 ) you got depressed while working on art ?

B some tim

10 ) what is theatre in your eyes ?

Certainly! Theatre, often spelled as "theater" in American English, is a form of performing

art that involves live performers, typically actors, presenting the experience of a real or
imagined event before a live audience in a specific place, often a stage. Here's some
information about theatre:

Overall, theatre is a dynamic art form that continues to evolve and adapt to changing times
while retaining its fundamental role in human expression and communication.

24
 11) the problem of being a woman in theatre ?
: Women in theatre often earn less than their male counterparts for similar work. This pay
disparity can be attributed to various factors including unequal opportunities for
advancement, unconscious bias in hiring and salary negotiations, and systemic
discrimination

12) how do you find the role of a woman in a play?

According to the character demand and psychology physics and other director image
and story they chose the role it’s demand of character and some time our male focus
society interfere the hole woman spine and it take
clear role .

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Name : bedana rai
Age : 25
Address: khotang
Theatre : manadala theatre

10 what was your education level?

c) bachelor

3 How did you get the inspiration to enter the theater field?

d) self

4. Someone has done a casting couch ?

a) little bit

5 .the family are supportive ?

B little bit

6.you can survive from theatre?

a) yes

7) How does society look at you ?

c) I don’t care

26
 8 ) you got depressed while working on art ?
B some time

10 ) what is theatre in your eyes ?

Theatre is place of story telling way path and society’s reflation which is show same
pain story and reflation . among the culture region and cast that’s is it necessary for
society .

CHAPTER 4

SOCIO-ECONOMIC CHARACTERISTICS OF RESPONDANTS

In this chapter, the findings of the study have been described. This section includes the findings of
cross sectional study done in nepali theatre house kathmandu District. Frequency, percentage, was used
for analysing research variables. Analysed data and results are presented in table, bar graph and on pie
chart format.

4.1 General Information and Finding:

The general information includes age, sex, ethnicity, marital status, educational status and health of
women artist. According to the census report of 2022 chirimay shrestha , the total population of nepali
women theatre artist is 500.

4.2 Field Survey Report of nepali theatre

In my survey, out of 20 female, the majority of the female were from the age group of 16-30 years
which was 75% and the least number of populations were from the age group of 30-60 and it was 25%
of total population.

27
4.2.1 Age wise distribution of the respondent:

Age group Frequency (no.of) Percentage (n=20)

Respondent
16-20 4 20%
20-30 10 50%
30-40 5 25%
40-60 1 5%
Taotal : 20 100%
Source of filed report 2080

The above table shows that, as per the data collection maximum female artist are from age group (20-
30) which is 50%of total female artist and minimum are in (40-60) which is 5%

4.1.2. Caste of the Respondents

Castes Frequency (no.of) Percentage (n=20)

Respondent
Brahmin 3 15%
Chhetri 6 30%
Newari 2 10%
Dalit 2 10%
Janajati 5 25%
Madeshi 1 5%
Muslim 1 5%

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Total 20 100%

Source of filed report 2080

The above table shows that, as per the data collection maximum female artist are from chhetri group
(6) which is 30%of total female artist and minimum are in (1/1) which is 5% from madeshi muslim
cast .

4.2.5 Religion adopted by women:

As we know Nepal was a Hindu country before so majority of people in this data are
Hindu. From the above table we can say that 10 female believed in Hinduism

4.1.4. Types of Family

Class Frequency percentage (n=20)

Upper 6 30%
Middle 10 50%
Lower 4 20%
Total 20 100%

29
30
society. Traditionally, Nepali drama, like many other societies, was dominated by male perspectives
and narratives. However, over time, there has been a gradual shift towards more inclusive
representations of women and their experiences.In traditional Nepali drama, women were often
portrayed in stereotypical roles such as dutiful wives, devoted mothers, or victims of societal
oppression. These roles tended to reinforce patriarchal norms and values, limiting the agency and
autonomy of female characters.However, with the advent of modernity and increasing awareness
about gender equality, Nepali drama has started to explore more diverse and complex representations
of women. Female characters are now depicted as strong, independent individuals who navigate
various challenges and assert their identities.Moreover, contemporary Nepali drama often addresses
pressing social issues such as gender discrimination, violence against women, and women's
empowerment. Female playwrights and directors have also emerged, contributing to a more nuanced
portrayal of women's experiences and perspectives.Overall, the role of women in Nepali drama is
evolving, reflecting broader changes in society's attitudes towards gender and empowerment. Through
diverse representations and narratives, Nepali drama plays a crucial role in challenging stereotypes and
advocating for gender equality. There are many problem they can face which is mansion. Gender
violence and and money problem society thought

5.2. Conclusion

In conclusion, the role of women in Nepali drama has evolved significantly over time, reflecting the
changing dynamics of Nepali society. Traditionally confined to stereotypical roles, women in Nepali
drama now occupy more diverse and complex characters, portraying a range of experiences and
perspectives. As the society progresses towards greater gender equality and empowerment, Nepali
drama plays a crucial role in challenging stereotypes, advocating for women's rights, and promoting
inclusivity. Female playwrights, directors, and actors have contributed significantly to this evolution,
bringing forth narratives that resonate with the lived experiences of women in Nepal. Moving forward,
it is essential to continue fostering diverse representations of women in Nepali drama, ensuring that
their voices are heard and their stories are told authentically. By doing so, Nepali drama can continue

31
Recommendations

Based on the evolving landscape of Nepali drama and the importance of promoting gender equality
and inclusivity, here are some recommendations for further enhancing the role of women in Nepali
drama:Support Female Playwrights and Directors Encourage and provide opportunities for female
playwrights and directors to create and lead productions. This will ensure a diversity of voices and
perspectives in Nepali drama.Expand Representation Encourage the portrayal of diverse female
characters with varied backgrounds, experiences, and challenges. This includes women from different
socio-economic backgrounds, ethnicities, and regions of Nepal.Address Social Issues Continue
exploring and addressing important social issues affecting women in Nepali society, such as gender
discrimination, violence against women, access to education, and economic empowerment. Drama can
serve as a platform for raising awareness and advocating for change.Promote Female Talent**:
Support and promote female actors by providing equal opportunities for roles that showcase their
skills and talents. Encourage casting decisions that challenge stereotypes and promote positive
representations of women.Education and Awareness Promote education and awareness initiatives
within the Nepali drama community to foster a better understanding of gender issues and encourage
sensitivity towards portraying women authentically and respectfully.Collaboration and Networking**:
Encourage collaboration between Nepali drama practitioners, women's rights organizations, and other
stakeholders to create impactful productions that promote gender equality and social justice.According
to the this data middle class people are majority which is 50% and lower class of people minority to be
20%

ABBREVIATIONS

2019 April 18 — Later she was Radio Nepal... At that time, the female actors involved in drama could
be counted on the fingers. (Three stories of violence against women in the play 'Trayam')
A Survey of Women's Writing in Nepali Literature
Women were afraid to act

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We were three sisters together on stage – Chandmala, Nisha and me. No one treated us badly.
Female actors in Nepali theatre, some misery and some fun
Rangamanch samiksha (theatr analysis) july 2013
Gaauma theatre /theatre in village (2012

Photos

Some photos from field visit

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