Untold Story of Yasodhara

Kathmandu, Jan. 6: ‘Gulaf’ (The Rose) is currently being staged at Mandala Theatre in Thapa Gaun, Kathmandu, exploring the various dimensions of Yasodhara’s emotional, mental and physical hardships following Siddhartha Gautama’s sudden departure from the palace.

Siddhartha Gautama, who is now revered as Lord Gautam Buddha, is venerated by billions worldwide as the epitome of peace and harmony.

 Despite this widespread recognition, Yasodhara, His wife, remains less known to many, and her story is often overlooked.

She experienced profound upheaval when Siddhartha Gautama departed from her life.

Yasodhara’s dreams and aspirations were shattered when Siddhartha Gautama left the palace to seek enlightenment.

During this crucial familial period, a wife was separated from her husband, and a son was left bereft of the love and care of his father.

However, as the saying goes, time heals everything. Yasodhara also followed a celibate life over time, finding happiness for both her physical and spiritual well-being.

The play ‘Gulaf’, directed by Ramhari Dhakal, revolves around the emotional state of Yasodhara with Siddhartha and without Siddhartha and how she seeks solace for her soul.

Two actors, Diya Maskey and Sarita Sah, are seen on the stage at the centre surrounded by the audience inside 

the curtains.

Both actors, adorning the same attire, watch each other, following the same expression and gesture with full compassion at first.

But as the play further develops, the two of them start fighting and struggling. The two characters represent the physical form and soul form of Yasodhara and the action of 

Yasodhara’s turmoil.

The characters show the physical and mental condition of Yasodhara before Siddhartha left the palace.

Yasodhara was happy and living a blissful life with her husband Siddhartha, but her happiness shattered after Siddhartha left her.

The play is based on the physical theatre genre, and the story is narrated through expression and gesture.

 Except for the whispering or gossiping when Siddhartha left the palace, the whole play is non-verbally executed.

Both actors have made the play watchable for 50 minutes with fine expressions and gestures

Director Dhakal, known for his experimental works, has previously done sensory theatre like ‘inside\outside’ and ‘Chakra’.

Breaking from the conventional theatrical practice where artists perform in front of the audience while audiences watch from the back, Dhakal has arranged the stage at the centre, creating an immersive experience where the audience surrounds the artists.

 The play will be staged until Sunday and will subsequently embark on a tour of various European cities.