Sapanako Sabiti In Gurukul

Watching the play Sapanako Sabiti in Gurukul was an extremely insightful aesthetic experience. There are two things that have influenced me to write a critical response to the play. One is CK Lal’s creative expression in terms with understanding the nuances of contemporary history and placing the individual to map the history. The other is Nisha Sharma’s involvement with the play, her yet again powerful portrayal of the character. Nisha’s role complements Lal’s creativity. Let me critique these two elements one by one. I also want to share these critical ideas because amidst senseless political cultures there are beautiful moments in the arts and literatures of the country.

I do not know whether Lal has written more plays and have engaged in more creative activities, but Sapanako Sabiti reflects Lal’s immense potentiality as an emerging creative mind of contemporary Nepal. I have unexciting observations about his political essays in the newspapers because I cannot analyze political discourses, but the play certainly proves that philosophy does not clip an angel’s wings: Contextually, critical writing does not erode creative sensibilities.

The individual herself is the narrative, Sapana is the story. As she goes through various experiences, the contemporary story of the nation unfolds. Apart from using the technique of coalescing the self and the national narrative, the play illustrates a pervasive cultural sensibility, especially regarding identity. Sapana is unidentifiable as a person with specific class and community. The playwright’s characterization of Sapana reminds me of a very powerful critique of identity by the renowned Palestinian writer Edward Said. He once said in an interview, “Identity bores me. I am simply not interested in defending ‘identity’”. Sapana resists that rigidity by constantly becoming multiple