बा, कहिले आउनुहुन्छ ?

बहिनीले नसोधिदिए हुन्थ्यो झै लाग्छ । तर ११ वर्षे मेरी बहिनी स्वास्तीकाको मन के मान्थ्यो ? उ प्राय मलाई यहि प्रश्न दोहो¥याइ रहन्छे, ‘बा कहिले आउनुहुन्छ ?’

खै के थाहा ? उनी त बेपत्ता पारिएका छन् । उनी आउने दिन यदि मलाई थाहा भएको भए, मैले भित्तेपात्रोको कुनै मितीमा कलमले ठूलो गोलो चिन्ह लगाएर राख्थेँ होला । यहि प्रश्न सोध्ने साथीहरूलाई ठ्याक्क मिति सुनाउँथे होला । मेरा आफन्त, चिनेजानेका सबैलाई गर्वका साथ भन्थेँ होला, मेरा बा यति दिन, हप्ता, महिना, बर्ष पछि घर आउँदैछन भनेर । तर मसँग कुनै बार, गते, महिना र वर्ष छैनन् भन्नका लागि । कसैले प्रश्न सोधिहाले चुपचाप आँशु बाहेक मसँग दिने कुनै उत्तर पनि हुँदैनन् ।

Searching Grandmother

This is a video of audition of Grandmother, for KMS drama.This video is recorded by small camera of sony.It is rough video .The drama of grandmother will be recorded with in two weeks.

International Radio Drama - Social, Economic and Literary Contexts

By Tim Crook

Please note that this is not an academic essay but an article written during the research for the book 'Radio Drama-Theory and Practice'. The purpose of this article is to express 'journalistic' enthusiasm for research into audio/radio drama. None of the contents of this article are included in the book published by Routledge which can be ordered from the following sites:

www.routledge.com | www.amazon.com | www.amazon.co.uk

"There's no romance in television: it's just the Wal-Mart of the mind. Radio is infinitely sexier" - Garrison Keillor, An American Radio Romance.

Radio drama has probably been the most unappreciated and understated literary form of the twentieth century and I hope the neglect will not continue into the twenty first century. Academics, media theorists and writers in most cultures have in the main failed to realise that the medium of sound has provided an environment in which a new storytelling genre has been born. It has developed with sophistication and explosive energy, and now occupies a significant position in the cultural lives of societies throughout the globe. Huge traditions, styles and movements have been established and remain largely undocumented. Even now, radio drama is regarded as an adjunct of radio production practice.
Creative writing books might devote a minor chapter to the subject because it offers a peripheral opportunity for the professional writer. Scholars of literature and drama do not deign to provide radio drama with much significance. Samuel Beckett's literary value is determined by his stage plays and not by his radio plays. The same can be said for Bertolt Brecht and Tom Stoppard. Yet Stoppard's successful and significant stage play,Indian Ink, was conceived and first produced as the radio play In the Native State. Britain's foremost woman stage playwright is Caryl Churchill. But the majority of her first experiences with professional drama production were as a radio playwright. There were 9 productions with BBC radio drama up until 1973 when her stage work began to be recognised at the Royal Court Theatre. Hanif Kureishi, regarded as one of Britain's leading Asian writers, famous for his film My Beautiful Launderette and his novel The Buddha of Suburbia was first produced in radio.