Synopsis:
The play is a theatrical exploration of cultural tradition, myth and social reality. It is deeply rooted in the Maithili heritage of Nepal. The story unfolds in a village preparing for Sama-Chakeva, a festival that celebrates the bond between siblings. The villagers create clay figures of mythological characters which magically come to life and engage in conversations reflecting the deep cultural heritage and myths of the community. Amidst the festival's preparations, the play delves into the lives of real characters. Barkha’s story is particularly poignant. It highlights the themes of love, sacrifice and the societal pressure she faces, culminating in her tragic end. The interplay between the mythological elements and everyday struggles of the villagers offers a layered narrative that critiques societal norms while celebrating cultural traditions. Through its evocative storytelling, the play explores the enduring impact of myths and the complex social dynamics within the village.
About the Director:
Amjad Prawej is a seasoned theatre professional with extensive experience as an actor, playwright, and director. He has earned international recognition, including the Best Actor Award at the FICBUEU International Film Festival and the NYU Tisch Asia Craft Award.
Beyond performance, Amjad has built a dynamic career in training, integrating theatre methodologies across education, corporate, and non-profit sectors to drive social impact. His expertise in applied theatre makes him a valuable asset to any training program. Committed to mentorship, he continues to inspire both theatre and non-theatre talents through performance and applied theatre techniques.
Director's Note:
Welcome to the performance of 'Sam Chako Sam Chako Abiha Hey'. The play is a heartfelt exploration of cultural heritage, societal norms and the powerful myths that shape our collective consciousness. As the director, I have endeavored to bring to life a narrative that seamlessly blends the magical with the mundane, the mythological with the realistic, and the surreal with the everyday.
This production aims to transport you into a world where the extraordinary is ordinary, where myths walk among us and where every gesture and word carries the weight of ancient traditions. Through this play, we seek to highlight the enduring power of cultural stories and the profound impact of societal expectations on individual lives. I hope that you will find this journey as enriching and thought-provoking as we have found in bringing it to the stage. Thank you for joining us, enjoy the performance.
About the Group:
Loksanchar is a cultural organization based in Janakpurdham, Nepal. Founded in the year 2065 BS, It is dedicated to promoting Mithila culture through drama, film, literature and training programs. It conducts stage and street performances, focusing on various social issues. It has also produced numerous documentaries, short films and radio dramas. The organization also engages in publications; translating and publishing works in Maithili. Its major vision is to establish a cultural museum preserving Maithili heritage while using artistic mediums to challenge discrimination and social stigma.
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Loksanchar, Janakpur
Mobile: 9854024143/9800800595
Synopsis:
New Normal follows friends Aaravi, Minal, and Smriti as they navigate the past, present, and future after the unexpected arrival of people from the old world—Earth. Why have they come, and how will they adapt? When the trio meets Diya, they quickly realize that their world is about to change in ways they never imagined.
New Normal is an original play which has resulted from an exciting international collaboration between disabled artists in Nepal and Scotland. The play has been developed through 'Unwrap', a series of creative development workshops and weaves ideas and new writing from artists in both countries to create a truly collaborative new work of accessible theatre that explores how the tales we tell and the myths we build can define us and our societies. The play creatively embeds access provisions such as Nepali sign language, captioning and audio description.
About the Directors:
Morna is a disabled theatre-maker, facilitator, director, dramaturg and mentor- working across a multitude of theatre settings in Scotland and internationally since 2009. Morna is passionate about creating space for people who are currently under-represented within the arts to make the work they want to exist in the world.
Gunjan Dixit is a theatre practitioner, director, and educator specializing in applied theatre and socially engaged performance. A Chevening Scholar with a Master’s from the University of Leeds, she co-founded Phulbari Playback Theatre in Nepal. Her work fosters dialogue through artistic interventions, using theatre as a catalyst for social change.
Director's Note:
While we looked to the past and the present to explore the experience of disabled people in Scotland and Nepal, it was the future that became our focus as we started to explore what a more positive and equitable world would be like. This has led us to a unique place where we can bring together all our ideas and directly utilize new writing and personal stories from the group.
About the Group:
Birds of Paradise Theatre Company (BOP) is Scotland’s preeminent pioneering disability-led theatre company and a force for change. Diverse Patterns is a Nepal-based organization committed to advancing disability inclusion and digital accessibility through training, partnerships, and advocacy.
BOP and Diverse Patterns have partnered together on the project Unwrap, which has resulted in this new accessible production. Unwrap is an international collaboration that has brought together ten artists from Scotland and Nepal. These artists have collaborated remotely through online workshops that explored artistic practice, storytelling and creative access. Unwrap is an Unlimited International Open Award 2024 commissioned by the British Council.
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Birds of Paradise Theatre Company
Scotland, UK
Diverse Patterns,
Kathmandu, Nepal
Synopsis:
Jhoda, based on Ganesh Rasik’s novel Akashgangako Otmuni, explores the struggle for land ownership and political manipulation of indigenous communities in eastern Nepal. The story follows Rupama, who uncovers how political parties exploited former soldiers to transfer land to the Jhoda, only to entangle them in a relentless political battle. The play highlights how native inhabitants were reduced to squatters, how political self-interest fractured their unity, and the enduring fight for their rightful land. Through a powerful narrative, Jhoda sheds light on the indigenous perspective and their resilience against systemic dispossession.
About the Director:
Based in Chulachuli, Ilam, Chetan Aangthupo has been deeply engaged in theatre since his early years, acting in Nepali plays from grade 9. Committed to developing theatre in his village, he began writing and directing plays in 2065, later founding Chulachuli Rangamanch. Trained at Mandala Theatre Nepal, he directed Mangena at NITFest 2065 and most recently Jhoda. Beyond black box theatre, he has successfully organized outdoor theatre festivals, integrating indigenous traditions and environmental themes. Known for highlighting underrepresented cultural narratives, Aangthupo is a prominent theatrical figure in Nepal’s eastern villages.
Director's Note:
some local governments as the first people of their region. However, due to limited resources, I shifted my focus to Jhoda—forested land granted by the government to emigrants. My search led me to Aakash Gangako Oatmuni by Ganesh Rasik, a novel that intertwined history, folklore, and Nepal’s land struggles.
My grandfather once told me how he lost his land due to legal complications, a story that mirrors the plight of Jhoda’s inhabitants. From 2026 to 2033 BS, they were displaced, labeled squatters despite holding land ownership documents. In 2028 BS, the army fired upon them in Morang, marking a dark chapter in Nepal’s land history.
With a dedicated team, Jhoda took shape despite financial constraints. Staged in Damak and Shilpee Theatre, it now reaches Nepal International Theatre Festival. This production is a tribute to Ganesh Rasik, Ek Theatre Nepal, my team, and all who have supported this journey in shedding light on Nepal’s land injustices.
About the Group:
Chulachuli Theatre, established in 2070 in Ilam, is a dynamic theatrical institution dedicated to social transformation through theatre. The group has produced numerous black box and street plays, addressing social, cultural, and research-based themes. With a distinct approach to theatre, it has built a strong identity locally and internationally. The group has been organizing the school theatre festival in natural sites promoting biodiversity and eco-friendly movements. Registered under Ilam’s District Administration Office, the institution continues to nurture artists and bring meaningful narratives to the stage, making a lasting impact on the theatrical landscape of Nepal.
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Chulachuli Theatre, Ilam
Email: chulachulitheatre@gmail.com
Synopsis:
Playback Theatre is an interactive and improvisational form of theatre where audience members share personal stories, which actors and musicians instantly bring to life on stage. Founded in 1975 by Jonathan Fox and Jo Salas, this unique art form blends oral traditions, psychodrama, and communal storytelling to foster empathy, reflection, and connection. Now practiced in over 70 countries, it thrives in schools, workplaces, therapy, and community spaces, bridging cultural divides and sparking dialogue.
Our theme, Wisdom of Life, explores the lessons that shape us—some gentle, others transformative—each enriching our understanding of what it means to be human. By bringing personal narratives to the stage, we honor life’s complexity, celebrating both struggles and triumphs. In sharing stories, we create a space where every experience, no matter how big or small, resonates with others, reminding us of our shared journey toward meaning and growth.
About the Team Leaders:
Gunjan Dixit is a theatre practitioner, director, and educator specializing in applied theatre and socially engaged performance. A Chevening Scholar with a Master’s in Applied Theatre and Intervention from the University of Leeds, she co-founded Phulbari Playback Theatre in Nepal and has performed internationally. Her work integrates Playback Theatre, Theatre of the Oppressed, and interactive storytelling to foster dialogue and social transformation.
Ingi Hopo Koinch Sunuwar is a visionary Nepali theatre artist known for his work as an actor, director, writer, facilitator, and designer. Since his acclaimed debut in JAAR: Bhayekai Euta Katha with Mandala Theatre in 2014, he has continually pushed creative boundaries. Founder of Mamaa Arts Pvt. Ltd. and co-founder of Phulbari Playback Theatre, his performances bridge cultures and inspire audiences worldwide. Through innovative storytelling and technical artistry, he continues to make a profound impact on global theatre.
Team Leaders' Note:
At Phulbari Playback Theatre, we believe every personal story holds a kernel of wisdom, waiting to be unearthed through the power of shared experience. Through this performance, we gather stories—of joy, heartbreak, intuition, love, and resilience—that encapsulate the myriad lessons life offers. Presenting our playback theatre performance at an international festival is more than just a show; it is an opportunity to embrace narratives from every corner of the globe. On this global stage, we anticipate stories that traverse diverse cultures, languages, and life experiences. Each narrative contributes a unique insight into the universal quest for meaning and connection. By inviting contributions from around the world, we celebrate a mosaic of human wisdom—stories that echo the shared emotions and challenges that bind us all. This enriching blend of experiences not only deepens our own understanding but also fosters a global dialogue on the complexities of the human condition. In essence, our performance becomes a living tapestry where every thread of personal history interweaves with another, highlighting that the lessons of life—be they easy, hard, intuitive, or steeped in love—are as diverse as the people who share them.
About the Group:
Phulbari Playback Theatre is a collective dedicated to celebrating the diversity of human experiences. Much like a garden that blooms with flowers of various colors and forms, our group seeks to embrace and portray stories from all walks of life, highlighting their unique authenticity and beauty. Through the art of Playback Theatre, we aim to create a safe, inclusive space where individuals can share their narratives and see them transformed into moving, improvisational performances. Phulbari Playback Theatre strives to foster connection, empathy, and understanding by bringing diverse voices together into a shared space.
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Synopsis:
The play presents interconnected stories by Sadat Hassan Manto, each examining the human condition in the face of conflict and survival. In the first story "Tamasha", a family is overwhelmed by war and flees in search of safety. "Ten Rupee" follows a child forced into prostitution, where a man's regretful transformation takes place after spending a day with her. "Smell" tells of a man haunted by a passionate night shared with a factory worker. In "The Hundred-Watt Power Bulb," a prostitute kills her relentless pimp in a desperate bid for rest. "The Rats of Shahdol" depicts a mother’s lifelong grief after losing her child, whom she had once abandoned. The play ends with "The Dog of Titwal," a tragic tale of a dog caught between two warring nations, rejected by both armies. Each story explores themes of loss, regret, and the enduring impact of conflict on the human spirit.
About the Director:
Neelam Mansingh Chowdhry holds a Master’s in the History of Arts and a diploma from the National School of Drama. She founded The Company in Chandigarh in 1984, after her work with The Rang Mandal in Bhopal. A former Chairperson of the Department of Indian Theatre at Panjab University, she is known for plays like Kitchen Katha, The Suit, Yerma, Nagamandala, and Hayavadana. Her work has been featured in major national and international festivals. She has received multiple honors, including the Sangeet Natak Akademi Award (2003) and the Padma Shri (2011). Dr. Chowdhry is currently Professor Emeritus at Panjab University.
Directors' Note:
In rehearsal, two groups of actors from different cultural and linguistic backgrounds tentatively meet, facing the challenge of navigating an unfamiliar language and performance style. As Punjabi directors, Vansh Bhardwaj and I found ourselves confronted by the complexities of working with Malayalam, a language foreign to both of us. Despite the language barrier, we began collaborating with young actors from Kerala on a production based on Saadat Hasan Manto’s stories, which delve into themes of loss, grief, gender politics, and societal hypocrisy. Manto’s unapologetic, disruptive narratives challenge societal norms, addressing issues like misogyny and disparity.
With no definitive script, we selected stories like Tamasha, Ten Rupees, Smell, and The Dog of Titwal—fragments of Manto’s work that the actors helped shape through improvisation. I’ve always valued the rehearsal process over the final product, and in this unstructured approach, uncertainty created space for exploration and collaboration. Manto’s stories, often set against the backdrop of Partition, resonate with both personal and collective histories, especially for those living on society’s margins.
Manto’s work transcends borders, both physical and emotional, defying the artificial divisions of nations. In today’s world, fraught with conflict and prejudice, his stories are a reminder of the power of shared humanity and the need for empathy. Through Manto, we explore the resilience to rebuild, and the enduring hope in the face of destruction.
About the Group:
CULT (Calicut University Little Theatre) is the dynamic repertory of the Department of Theatre at Calicut University, bringing vibrant, thought-provoking performances to life. Each year, the theatre group produces a diverse range of plays, engaging local communities and showcasing their work at prestigious festivals. With a strong involvement of alumni, CULT blends fresh talent with seasoned experience, creating performances that resonate with audiences of all kinds. The department continues to push the boundaries of creativity, expanding its annual lineup and solidifying CULT’s reputation as a cultural hub for innovation and expression.
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Synopsis:
Arrived is a street theatre play inspired by immigrants who, after arriving in a new place, begin to create a fresh and surprising sense of "home." These characters, arriving from a not-so-distant past, view the present world through unique, often humorous eyes. As they interact with passers-by, they create absurd and surreal situations that provoke laughter and surprise. The music emerging from their suitcases is the only clue to their origins. Engaging the audience as part of the performance, Arrived is a celebration of the joy of returning and a poignant exploration of rebuilding a society based on togetherness.
About the Director:
Adrian Schvarzstein, based in Barcelona, is a multi-national artist with extensive experience across Europe. With a background as a comedian, stage director for classical music and opera, and in circus and street theatre, he specializes in blending various artistic disciplines into unique, surprising productions. His notable work includes creating Circus Klezmer, which toured for 12 years, and directing street theatre shows like The Greenman and Arrived or Sweet Home on Wheels. Recently, he directed Mozart’s operas and collaborated with ART HOUSE17 from Graz on diverse musical projects. His artistic vision is centered on engaging and emotionally moving audiences, using chaos, surprise, and provocative innocence. His productions have been showcased in over 70 countries worldwide.
Directors' Note:
For many years, I’ve seen that theatre needs to reach audiences in unconventional places and tell universal stories that don’t rely on words. That’s why I chose to develop a unique language for street theatre—one that is highly interactive and suitable for all audiences. After nearly 30 years of touring, I can say that we’ve performed in over 70 countries, and there’s one thing that’s common to all people in this world: laughter.
About the Group:
Adrian Schvarzstein and Jurate Sirvyte are a duo of theatre artists who began their collaboration in 2015 with an opera in Lithuania, later creating the show Arrived during an artistic residency in Sri Lanka. With extensive experience in opera productions, orchestral concerts, theatre shows, and special projects, they have worked in over 25 countries worldwide. Their goal is to offer audiences a strong and clear theatre experience, fostering direct connection and inspiring new thoughts on how to engage the public with live performance.
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Adrian Schvarzstein and Jurate Sirvyte
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Synopsis:
The performance opens with the mythological romance of Zhong Kui Marrying His Sister, where flame-spouting rituals and shapeshifting choreography create an enchanting atmosphere. The poignant drama The Fourth Son Visits His Mother follows, unveiling heart-wrenching emotions through the rhythmic head-swinging (Shaozi Gong) technique. Other highlights include Praying for Justice from Sea God Temple, a haunting tale of betrayal and hallucination expressed through flowing water-sleeve dances, and Lin Chong’s Night Run, a gripping escape scene that demands both acrobatic skill and vocal precision. This captivating gala performance immerses audiences in the vibrant world of Shanxi Jinju Opera, a national intangible cultural heritage renowned for its soul-stirring vocals, intricate costumes, and dynamic stage techniques. The program features nine iconic episodes from both classic and contemporary Jinju repertoire, each showcasing the genre's rich cultural legacy.
About the Team Leader:
Tao Chen, National First-Class Performance Supervisor and Chairman of the Taiyuan Theatre Association, has dedicated over 45 years to advancing Jinju (Opera). As a former Director of the Taiyuan Experimental Jinju Youth Troupe and Vice President of the Taiyuan Experimental Jinju Theatre, he modernized traditional opera through contemporary aesthetics.
He has produced 50+ acclaimed works, including Fu Shan's Imperial Audience (87 honors, listed among China's Top 10 Stage Art Classics), Yu Chenglong, and Fan Zhongju's Success. His productions have toured three continents, expanding Jinju’s global presence. Honored with the Best Producer award at the National Theatre Culture Awards and recognized as an Outstanding Art Creator, Tao Chen has pioneered youth development programs to ensure Jinju's future. His visionary leadership continues to drive the innovative transformation of Chinese traditional opera on both national and international stages.
Team Leader's Note:
Jin Opera Gala: A Timeless Journey Through Chinese Tradition
This curated performance presents nine iconic Jinju excerpts, blending mythical legends, history, and folklore to highlight the genre’s unique artistry. Zhong Kui Marries Off His Sister stuns with fire-spitting and shape-shifting choreography, while Fourth Son Visits His Mother captures wartime sorrow with intricate hair techniques. Pleading at the Temple enchants with flowing water sleeves, and Lin Chong’s Midnight Escape balances martial skill with deep emotion.
Other highlights include the darkly humorous Capturing Sanlang, the silent combat comedy Crossroads, and Xu Ce Rushes to the City, where hat-wing and beard techniques bring an elder’s triumph to life. A Banquet showcases feathered headdress artistry in Lü Bu’s flirtation with Diaochan, while Flooding Jinshan Temple delivers a breathtaking mythical battle.
Merging tradition with modern vitality, this gala celebrates timeless Chinese values—loyalty, justice, and karma—through masterful performance and visual spectacle.
About the Group:
This state-owned troupe, recognized as a national-level intangible cultural heritage unit, focuses on the research, preservation, and innovation of Jinju Opera. With award-winning artists, including Second Plum Blossom laureate Xie Tao, and a repertoire of over 100 plays, they blend tradition with modernity. Their productions, such as Three Passes Point Handsome and Fu Shan Goes to Beijing, have earned national honors and support. The troupe stages over 500 shows annually across China and internationally, with notable recognition like the May Day Labor Award. Their mission is to preserve Jinju Opera while creating culturally significant works for global audiences
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Mr. Wang Ling
Synopsis
In the country of “Matetssamachtawch”, plagued by a series of absurd events, Madame Cesscu Ciao, editor-in-chief of the newspaper “Beyond Imagination”, assigns her team to cover the recent events. Their investigations explore the sense of injustice that links different characters, offering a psychosocial perspective on events based on scientific experiments. As the action unfolds, six actors take on alternating roles, combining dramatic performance and theatrical dance. The play is produced by Association Carmen pour la culture et les arts.
About the Director
Amenallah El Ghezal is an actor, playwright, and director. Trained in theatrical techniques under the guidance of renowned directors, he performed in the play "Démo," a performance that earned him the Best Actor award at the International Free Theatre Festival in Jordan. His passion for theatre and artistic vision led him to his first experience in directing and co-dramaturgy with the theatrical creation "ASCH." Simultaneously, he participated in the writing workshop for the play "2034 - A Modest Proposal," where he also performed as a video actor and served as assistant director. His immersion into the world of cinema was realized when he was selected to act in the short film "Stigmate."
Director's Note
Asch is a play that invites the audience to view societal issues through a psychosocial lens. It is a dramatic piece combining performance and theatrical dance, telling fictional stories against a backdrop of universal reality, based on well-known experiments in social psychology.
About the Group
Tafukt is a Tunisian theatre collective founded on the belief in the power of collective intelligence and creativity. Driven by a shared passion for theatre, its members have come together to explore humanist storytelling and innovative artistic expression. Through a collaborative creative process, the group has forged a strong artistic identity rooted in inclusivity, cultural heritage, and social engagement. The name Tafukt, meaning 'passion' in Amazigh, reflects the company’s dedication to theatre as a space for dialogue, reflection, and transformation.
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Synopsis:
Aboriginal Cry opens with the harmonious connection between the aborigine and their land—rivers, forests, paddy fields, lakes, and hills passed down by ancestors, expressed through sounds and movement. But this sacred inheritance is threatened by the arrival of powerful corporate forces, backed by the state. Tensions rise as the aborigines confront these forces in a clash of sound and fury. The aborigines fight to protect their land, culture, and values, while the brute forces respond with oppressive, discordant noise. Ultimately, the aborigines are displaced to barren land, stripped of their heritage, and overcome with helplessness. In the face of such loss, their anguished cry echoes—a cry of pain, yet of resilience, as they vow to fight for their roots. The play tries to depict the hardships of displaced people and communities affected by 6 mega dams in Manipur in India.
About the Director:
Thoudam Victor, a National School of Drama (NSD) graduate (2009–2012), has trained under Heisnam Kanhailal and Ema Sabitri at Kalakshetra Manipur. A Charles Wallace India Trust Scholar (2014–15), he studied ‘Advanced Theatre Practice’ in London. He holds a Junior Research Fellowship from India’s Ministry of Culture and an MA in Devised Theatre from Rose Bruford College. His plays have been staged at national and international festivals, earning him awards, including Best Actor at META 2023. He has taught at NSD (Delhi, Tripura, Sikkim), Manipur University of Culture, and Central University of Hyderabad.
Directors' Note:
The story of targeting the resources of indigenous people by giant corporation have become a common phenomenon in different parts of the world, and Manipur is no exception. The play ‘Aboriginal Cry’ is about such phenomena where the aboriginal or the indigenous people becomes the target for acquiring land, rivers, forest, hills and other resources by giant powerful corporation. We try to explore this phenomenon through sound and the body of the indigene. For the indigenous people body becomes a sacred entity of relations between land, rituals and cultures. Without the land, the body becomes barren and could not embody values passed down from their ancestors, leaving the indigenous body in a very unproductive situation. Therefore, the play tries to address such brutal impact from the construction of mega dams in Manipur through a poetic body.
About the Group:
Akhoka is a collective of artists from diverse disciplines dedicated to creating critical theatre and art through collaboration. Focused on addressing socio-economic and political issues, Akhoka explores community-engaged performances in spaces affected by conflict, urbanization, and displacement. The collective seeks alternative, sustainable environments for artistic practice and aims to push the boundaries of both their own work and the field. Committed to inclusive arts, Akhoka invites individuals from all backgrounds to join and contribute to fostering a better vision through theatre and related artistic activities.
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Kontha Khabam Chumbreithong, Near Central Academy, P.O - Mantripukhri, Imphal East, Manipur - 795002, India.
Synopsis:
In Ming Dynasty, young nobleman Xu Cheng falls in love with palace maid Mo Chou, whose beauty and intellect captivate him. When Xu learns her father was executed by a corrupt minister and she was sold into servitude, he defies his grandmother's arranged marriage to Prime Minister's daughter Cai Yun. Their elopement fails, leading to Mo's public humiliation. Consumed by grief, Xu becomes critically ill. Cai bribes doctors to use Mo's eyes as a cure, forcing her to gouge them out selflessly. Escaping captivity, Mo drowned herself in despair, followed by Xu in suicide. Transformed into twin lotuses, they eternalize their tragic love in mortal bonds. The play critiques feudal oppression and celebrates selfless devotion.
About the Director:
Li Jun, a renowned female stage director and national first-class artist, also serves as the Vice Director of Nanjing Dramatic Theatre’s Arts Committee. Recognized as a top talent in Nanjing, she has earned multiple awards, including Best Director at the Purple Gold Cultural Festival and Shandong International Small Theater Festival. Her notable works include Youth Olympic Torch Bearer, Searching for Zhang Ailing, and Swinging Swing. A member of key arts associations, she blends traditional and modern storytelling into her award-winning productions.
Directors' Note:
Mo Chou Mo Chou reimagines a haunting love story from ancient Jinling (present-day Nanjing), where a common woman's defiance against fate becomes a timeless ode to devotion and sacrifice. While rooted in Chinese lore, its core themes—unyielding love that transcends social constraints, the quiet heroism of marginalized voices, and the cost of spiritual emancipation—resonate profoundly with modern dialogues on gender equity and existential autonomy.
This production pioneers a transcultural theatrical language. We harness Western physical theatre’s avant-garde vocabulary to illuminate Eastern classical aesthetics, weaving martial arts precision, operatic gestures, shadow puppetry’s mystique, and contemporary dance’s fluidity into a singular narrative tapestry.
Here, bodies are not mere performers but storytellers. By dismantling verbal boundaries, we invite global audiences to viscerally experience the paradoxes of love—its fragility and resilience, its capacity to both chain and liberate.
About the Group:
Founded in 1960, Nanjing Dramatic Theatre is a premier Jiangsu provincial theater troupe celebrated for its classical Chinese dramas. It has garnered national acclaim with award-winning productions such as "Yuhuatai", "Qinhuai Family", "The Great River Flows", and "Maple Grove". Notable achievements include multiple wins at the China Art Festival, Wenhua Awards, and the Five One Project Award. Plays like "Ordinary People" and "The Fall" have been recognized for excellence, while "Yuhuatai" received recent honors under the 14th Five One Project. The theater has engaged in international cultural exchanges in the U.S., Germany, Japan, and Russia.
Team Manager: Wang Li, China Theatre Association
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Mr. Yuan Yang
Mr. Wang Ling
