Pathos of silence
Ananda Abeynayake speaks beyond sight and sound:
Sachitra MAHENDRA
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A scene
from Ologuva of Sansarey Piyasatahan |
It was back in 1994, when no one ever gave it a thought - a series of
single-episode poya teleplay series. Perhaps it was a challenge, since
single-episode teleplay was not a common feature on the prime time belt.
Ananda Abeynayaka had the guts to pioneer such a series on Rupavahini
called Sansare Piya Satahan, which was telecast every poya at 8.30 p.m.
This year the series celebrates its 15th year. It was however no easy
trek, when Abeynayake started 'Sansare Piya Satahan' with Somaweera
Senanayaka.
"For the past 15 years, we have been luck to clinch the best
single-episode teleplay award 10 times."
That is really something to toast! What should be the guiding factor
behind this? Abeynayaka never had a formal education on theatre or
teledrama direction. However he has that born knack for absorbing the
right elements of life's encounters. One single conversation will be
enough for Abeynayake, who wakes up with the dawn of every Poya to work
on the next episode's script. If the population is five-million, he will
have that number of stories. It is a gross lie, he says, if somebody
states the opposite.
Of all events, his father's death is something he could not simply
forget in his life.
"We were clearing up his cupboard, when suddenly we came upon a huge
album. I was too busy both professionally and personally, so I didn't
have a proper chance to sit down and talk along with my father. But when
I discovered that album was brimmed with the paper-cuttings of my
achievements, I was speechless."
That was the subject for this Poya episode. He keeps on thinking,
without getting into writing straight away. He is a talented director
who takes the maximum out of his cast. He always directs them on the
set. He may let them perform even 25 times, until he gets the take he is
happy with.
"When I started Sansare in 1994 most of my performers had a very good
training on the stage. They are flexible and easy to handle, compared
with most of the overnight mega performers we have to bank on today.
They do not have a stage training, and on the other hand, it is very
hard to undo their mega-type performance habits."
For senior performers, Abeynayaka goes on to say, physical reactions
- especially facial - both after and before the dialogue is very easy.
Most of the amateurs are not familiar with before-the-dialogue reaction.
"When you say 'I love you' there are myriad ways to express your
response, more than a mere 'yes, I do'. A good performer uses all his
senses, or perhaps one sense sharp enough."
One of his unique features is to let silence pervade the plot. We are
very much used to dialogues ever since the radio came to our home. It
did not die down even when the television invaded our homes. People are
still more fond of listening to visuals. Abeynayaka's technique,
however, had a good appeal. Not only intellectuals, but normal viewers
have also grown interest in his silence feature.
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Ananda
Abeynayake. Picture by Saman Sri Wedage |
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Abeynayake
receiving the award in Japan. |
Silence technique can be likened to a walk on a tightrope. If it is
misused, the play will bore the viewers. Plot should be interesting and
dialogues should be used in really necessary places, rather than the
policy of 'minimum dialogues'. He tried silence first in his
Jeevithayata Ida Denna with possible fears. But viewers captured his way
of creativity.
Ananda started his career with his performance in Dharmasiri
Bandaranayaka's Ekadipathi stage play. He then entered the big scene by
producing Gamini Fonseka's Sagarayak Meda when he was just 27. He then
scripted the film Induta Mal Mitak.
His maiden teleplay was Menika Nadiya in 1988. He had already
directed a number of teleplays when he got into fast cutting technique
in Ramya Suramya.
Ananda now heads the Telemakers' Guild with a host of plans to carry
out.
"We are planning to work on teledramas of the Southeast Asia. We
screen their ones here, while our ones will be screened in those
countries."
The pilot program will be held in November in two forms:
single-episode drama and a multi-episode teledrama cut into one length
film. The guild will be conducting a program on visual appreciation too,
targeting A/L students as well as undergraduates. Ananda wanted to
pioneer the Poya series initially because he wanted to convey
spirituality over a creative mode.
"Our kids are not interested in homilies. They don't like to listen
to monks drone on the same be-good stuff. However important the monks'
message is, it doesn't reach the target group."
Most of the Poya teleplays give out a negative message. But his
Sansare leaves something for us to think awhile. That is what makes this
15-year old series still fresh. It's apparently hard to do a sensitive
job like scripting and directing a poya teleplay every month, but for
Ananda, it is satisfaction. Ananda recalled his experiences with Gamini
Fonseka.
"He was someone who gave cast the due credit. Those were the days
when producers were addressed as sir. Gamini changed this environment.
He was not even in the set when I directed my creations, but his
dedication to the field has influenced me a great deal."
| Films produced
Sagarayak Meda - Directed by Gamini Fonseka
Maruthaya - Directed by Vasantha Obeysekara
Teledramas directed
Manik nadiya gala basi
Kandegedara
Sankranthi Samaya
Nannadunnani
Deiyo sakki
Ramya suramya
Jeevithayata idadenna
Teledramas produced
Nisela vila - Directed by Prasanna Jeyakodi
Sanda Amavakai - Directed by Prasanna Jeyakodi
Rala bidena thena - Directed by Senesh Dissanayake Bandara
Sansarey Piyasatahan achievements
Won 10 awards for the best single episode teledrama of the year for
the past 15 years.
Won Japan Prize for the best Program proposal out of 59 countries,
273 entries. |
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