Let’s explore what we understand by my understanding of material theatre.

Material theatre can also be the movement of materials which entails visuals , sounds , and tactile experience , therefore in some ways it involving all the five senses. Material can be unformed like paper or can be formed like a puppet or a object, it’s a dead material that we bring alive and we project our own feelings over it through the stories we tell . The “ undead “ therefore brings out the “unsaid” , its therapeutic because in a nonverbal way, intense stories can come out in a safe manner and hold a mirror to the players and the audience .

The container gets activated with a structure .There is a warm up , a pre improvisational space , or a pre creative facilitative space . “ A certain process takes place in the structure. First there is a warm up space, an opening, a connection that creates the container. Then the creative or the developmental space is created where the actual theme gets unfolded through the activity, then a closure takes place. Often these spaces are marked with an opening ritual and a closing ritual, this is to demarcate time symbolically between the play space and the daily space.

A little bit about what happened in the workshop in the monasteries, to illustrate what did we understood of the communities living within monastic institutions and how exactly did the interventions take place . These monasteries are in the eastern Himalayas and often the young monks come from Nepali Hindu background who are initiated in the Buddhist faiths, most of the reasons for this is that the monasteries need the monks to carry out the faith as the families are too poor to keep the children and they want the children to be well fed and looked after by the institutions .