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| Thursday, 31 July 2003 |
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The Lionel Wendt Theatre Festival Reviewed by Andrew Fernandopulle When I talk of "the day of magic" at the Lionel Wendt, how many of us would have the courage and vision to think of a performance of non-formal theatre? To be exact of Gamini Hathtotuwegama's famed if not notorious wayside theatre? Whatever it is July 25th - the 3rd day of the Wendt's 50th anniversary festival saw a veritable explosion of drama and song, as Gamini's wayside players turned it on and on. In a display lasting just over two hours they virtually redefined for the benefit of this leading theatre centre in Sri Lanka, so sadly out of touch with the most innovative and most radical developments of our whole theatre, the very concept and business of theatre. They showed us all how one could, using the simplest and barest of resources, the "purest" of human resources - face, voice, body, so on to create the richest power-play imaginable. They demonstrated in an "ensemble of plays, dramatic scenes and songs" (as they called it) how the most vivacious and robust entertainment could go with a deep and abiding seriousness, they showed how riotous fun could graduate through outrageous and rebellious thought, to unnerving tragic experience. It was all in all the most refreshing thing that has happened at (and to) the Lionel Wendt in many decades. What was so exceptional here was the packing together of an enormous variety of drama and song into this program of non-formal art, one breathing upon the other. This variability was breath-taking - in style and content, in action, word and utterance in movement, in the use of space and stage structure. Each unit set up a different vibration and there was constant flow flux. Different themes and ideas emerged in every song and dramatic action, yet the line of radical criticism never went dry. Ideology does not oppress us here as in much "political" drama. The art of nuance, of subtlety, of symbolic suggestion, of ambiguity, of paradox runs through the songs, and all the dramas. Power relations, violence in various forms confront us. The violence of the market in "Vesak Festival" where power relations are generated by consumerism. Violence in the culture of hospitality and home in that marvellously creative Brecht parable "Marawara Mehewara" (where all "props and sets" are made solely of human bodies). The violence of media slogans in "Undata" - "Ammata" .. so .. on. The program ends in a traumatic distilling of the history of terror - not only Sinhala - Tamil conflict-wise but also Sinhala - Sinhala conflict-wise. The most haunting and passionate lyrics hold on our feelings. Yes, the wayside theatre is so much aware of death. Nevertheless it's a life-affirming art. As they first come into the theatre, forming a trunk-swaying elephant with their actor bodies, and then as they pour their first song, the witty ambiguous ode to the bullet, they exude such "sheer joy of theatre as hardly any other troupe does". How they leap, dance and perform their songs is a treat to watch (though they may also falter on their melodic keys) Their trilingual Dylan ("Blown in the Wind") has caught on. The "originals" are as entrancing as their transcreations. In their two last symbolic lyrics of hope and freedom, birds figure, much. A bird figures in their fine poetic mime "Cry Freedom" inspired by African liberation struggles. A bird of gold is addressed thematically in their original song, Yadam bindala gejj maama thanaganing Anga solawa aththatu tika hangaganing Ran Kurulo...// - in a richly ordained series of images spelling out the creative impulses, heroic daring, the Ulyssean adventurousness of man. There are ckeeky and subversive parodies; witty and vigorous satires; there's Paul Simon and Grafunckle's "I'd rather be a hammer ..." in a fine adaptation. Joyous dramatic lyrics devolve into sadness or are tinged by sadness. Joy and sadness, co-exist both in the songs and dramas, the whole program in fact. Just as the Bird of gold is asked to come down to earth to pick up his corn, the wayside theatre zooms and soars high in idealism with their feet firmly planted down. Their sense of comedy is brilliant, their sense of tragedy memorable. You'd go a long way to see their classic transcreation of Chekov's short story about the cab-driver who has lost his son and has nobody to tell it to. They make him a buggy-driver (in Matara?) for this cart they use just high stools. The wayside theatre transmutes the end beautifully to bring in a last passenger whose wife is to give birth to their first child. This man in a genuine hurry to go to hospital, is the only one who ultimately does listen to the Carter's tale of woe. The carter identifies with the new father. Hathtotuwegama's triumph is not in the adroit "stage" tricks he used but in handling the tricky emotion. The Carter's passionate utterances are a classic model of de-sentimentalized but utterly moving utterance. Here what I felt was that Gamini Hathtotuwegama, senior drama lecturer in our campuses, senior workshop director in the bilingual theatre media that he is, is rapping the formal theatre and teledrama (Sinhala) on their sentimental melodramatic knuckles. It was Dr. A. J. Gunawardena who put a very high rating on such work "One of the two best short dramas I've seen". Another "model" play in this grand non-formal repertoire is the one called "Ammat-Undeta". What a fine symphonic assortment of characters are brought together into "an asylum", each recording their recollections creating their little big worlds. It's a marvellous study of character - a virtuoso "voice-training" tour de force (and an "original" at that). While the wayside theatre basically relates to the larger audience of the Sinhala theatre it is a great national enterprise. It uses a little Tamil, some English too, but it can, through its force and imaginative brilliance, speak to a whole country. Its "avant - gardism" is of the highest quality and very, very solid. Gamini's proud claim "We may be third world economically; culturally we are first world," is above all relevant to his own theatre. To miss pieces like the Chekov and Brecht transcreations is to miss how an artist can play with the whole idea of the "text". I think what's happening is that his theatre is jolting us out of our diehard prejudices and false conceptions of theatre. It is mounting challenges that scholars, critics and audiences have failed to take up. "They black out the non-formal theatre out of sheer" ignorance and indifference", says Gamini H. "It's a colonial attitude", deadright! How sad that Colombo's audiences failed to take up the challenges thrown, how natural someone more than just a cynic - would say! Is it that the Lionel Wendt is no longer the focus of truly historic theatre experiences? Could we blame some of the poor houses attendant upon this jubilee festival on the shockingly bad publicity meted out by the organization? It is that there is a growing lack of adventurousness on the part of its audiences, a desire to escape into comfort stations? Hence the most daring happenings, the most advanced developments, of the Theatre as a whole are missed out by its audiences. Could we blame it on the total breakdown of discriminating criticism in English as well? It's a shame that students of drama in the higher academic institutions, students in the higher forms of the Colombo schools missed this extremely rare opportunity to see the magic of this most powerful of theatres. I seriously doubt whether the wayside theatre, which has for long turned its back on such venues, would care to visit us again. ************ Chamber Music Concert
For this very special occasion, some of our well-known artistes in classical music will perform an interesting and varied programme of solos and chamber works combining the piano (Ramya de Livera Perera), Violin (Ananda Dabare), Cello (Dushy Perera) and Clarinet (Ajit Abeyesekera). Works to be performed are mainly from the Romantic period, linking music with poetry, fiction, philosophy and painting. With composers like Chopin and Glinka a further fertilisation of nationalism evolved. Brahms Clarinet Trio is a fine example of the German influence during this period. The clarinet takes the place of the violin in this trio and the clever interweaving between piano, cello and clarinet is evident. The other chamber works will be by Glinka and Piazzolla. An interesting feature of the Piazzolla Trio is that it is written as a tango with a Latin American flavour. Piazzolla, an Argentinian composer, was a piano accordionist who wrote tangos for a wide range of instruments. Glinka's 'Trio Pathetique' is an exquisite work, displaying the brilliance and virtuosic skills of the performers. The artistes will also play solo works on their respective instruments by Chopin, Tschaikovsky and Richard Strauss. The concert will be at The Lionel Wendt Theatre on August 5 at 7.15 p.m. Tickets are available at the Lionel Wendt Office. ************ Launching of Thilaka Navaratne's "Pada Nena Vinisa" "Pada Nena Vinisa", a book helping to judge one's word power, the latest publication of veteran journalist Thilaka Navaratne, will be launched at the John de Silva Memorial Theatre on August 12 at 3.00 p.m. Minister of Human Resources Development, Education and Cultural Affairs Dr. Karunasena Kodituwakku will be the chief guest at this function which will be chaired by Kalasoori Arisen Abhubudu. Minister of Justice, Law Reforms and Buddha Sasana W.J.M. Lokubandara will deliver the keynote address and Silumina Editor Thilakaratne Kuruwita Bandara, Associate Editor of the Sinhala Dictionary Pundit K.B.A. Edmund and Deputy Editor Sarachchandra Jayakody are among the speakers. Visharadha Edward Jayakody, Visharadha Sudath Samarasinghe and Amitha Vedisinghe will bring variety to the function by their recitals, accompanied by the State Musical Troupe. The procession that has been arranged to carry the book on an elephant from the Viharamahadevi Park to the John de Silva Theatre, is a unique feature in this activity. This feature reminds one of the launching of the "Pujavaliya" during the Dambadeniya period and the records say that the manuscript was carried on the Royal Elephant in procession through the city. The function is organised by the Hela Haula and the National Book Development Board. Thilaka Navaratne currently works as the deputy editor of the "Subasetha", and has written a number of books. He was also a co-secretary of the Hela Haula. Considering his experience in Ayurvedic medicine, Mr. Navaratne was also selected for a special award at the Editor's Guild Awards 2002. The Sri Lanka Book Development Board will present 1,000 books to the participants on a first come first served basis. ************ Review : Diya Sithuwam
This is a teledrama with a difference in that the story and the finer aspects of the plot are nowhere unfolded until the last few episodes. Stanley Perera has put in all his cinematic expertise and technical know-how to give a unique outlook to Diya Sithuwam never seen on the TV screen ever before. The entire drama was filmed in two of the picturesque locations in Sri Lanka - Kandy and Bandarawela. Even the greater part of the still photography was in these two towns. The cameraman has depicted his photographic skills and techniques in such a manner that nobody can ever come to the conclusion whether the filming was done in Sri Lanka. The added incentive to beautify the background scenery is the two locations selected by the author. The outdoor shooting at Kandy and Bandarawela is inexplicable in words in comparison to the sites selected by the director for filming. In toto photography of the drama is par excellence. The director's cast is a mixture of versatility and experience. Roshan Pilapitiya plays the male lead role of Ravindu. He mixes his cinematic experience and screen skills in portraying the character of Ravindu excellently. Basically, Ravindu's character is not an aggressive one. Roshan being a person of very calm and sober disposition the director has aptly selected him for this role. To the viewer he displays the characteristics of a typical varsity undergraduate driven by the force of love with his first romance and demonstrates the palpitations and blushes through his skilful acting and body language. This is a fantastic piece of superb acting of a great young artiste. The second male lead is played by yet another young talented actor both on the television and advertising screen Sarath Wimalasiri with the role of Ananda, Ravindu's intimate associate. He displays to the viewer the clever artistry of his emotions through non - verbal communication, especially his disapproval of various incidents and the accusation on Nimasha over the predicament of Ravindu. Needless to say that his role in the teledrama is a clever piece of marvellous acting of a master tele craftsman. The female lead, Nimasha, is played by the vivacious and beautiful young actress Indika Upamali. Though her acting career is still in the embryonic stage the versatility and screen skills shown by her are beyond reproach. Certainly, maturity exhibited by her acting is equal or even supersedes those of leading female artistes on the television screen today. When she heard that Ravindu had fathered an illegitimate child the anguish and the devastations experienced by her are superbly acted and highly commendable. This shows her acting prowess and what more to come in the near future. The director is of the view that she is the up and coming Rukmani Devi and if so let us wait and see of this young talent. Another noteworthy and a creditable performance in the teledrama is the acting talent of Rebecca Nirmalee, another versatile actress of the present generation. She skilfully plays the role of Sister Luci. Her calm and cool attitude the role demands is amply seen in her acting. Her actions and reactions on the screen are well demonstrated of a woman devoted to God and holy. Jude Anthony who plays the role of Banda Aiya in the drama once again comes out with hilariousness and seriousness combined together. He is a superb character actor and the director has made use of him to the optimum to add hilarity to the show. Jude has come out with another crack performance. Miyuri Samarasinghe who plays the role of mother to Ravindu has come out with another spellbinding performance to show what a quality actor she is. She demonstrates the qualities of a typical Sri Lankan mother and it is very well done. Apart from the performances of the artistes mentioned above there are many more who have shown their prowess and talent in the roles they play. Though the roles of some artistes are small the talent and skills exhibited by them in Diya Sithuwam make this play a unique one on the telescreen.
Music and screenplay for the entire teledrama is handled by an experienced and talented musician Stanley Liyanage. Viewers have to critically watch the play to assess the quality of music rendered by him to this drama. Stanley is not a novice to music direction but a qualified musician who has selected excellent words and melodies to a harmonious blending. Diya Sithuwam is worth viewing many more times as it is a teledrama completely different from what you view daily. That is why I mentioned right at the outset that this is a unique drama. It has seriousness, pathos and hilarity harmoniously blended to give it an entirely a different outlook. You view it and you will certainly agree with me in my comments in this review. - Bertie Weerasinghe, Aquinas College of Higher Education,Colombo. ************ Wasantha goes to Japan with Old Age
Wasantha had his debut 'Tears' at his home town Ampara in 1993 and the second exhibition titled 'Old Age' too was held at Ampara in 2002. A group of visiting Japanese delegations from a social and community organisation named 'Apinokai', who were impressed of Wasantha's Old Age, took the exhibition to Japan last year. The sponsors were so captivated with the exclusive collection of photos portraying the life vicissitudes in the far away Digamadulla of Eastern Sri Lanka that President of Apinokai Yoko Kuratha has decided to hold the "Old Age" for a second time at Nikatha City at the request of viewers and Wasantha has also been invited to participate the opening of his 'Old Age' in Japan next week. |
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Produced by Lake House |
The 50th anniversary of the Lionel Wendt Theatre will be celebrated
this year with an arts festival. As intended, the Lionel Wendt Art Centre
is organising performances for music, ballet and drama and exhibitions for
photography, painting and sculpture.
This teledrama extends over 20 episodes. The story was written by Sri
Lal Nanayakkara and scripted for Rupavahini by Kumara Karunaratne. Camera
was in the hands of expert Nimal Weerasuriya. The whole teledrama was
directed by the veteran virtuoso and film idol of the late fifties and
early sixties, Stanley Perera of John Jayapala fame in late B.A.W.
Jayamanne's box office release and W.A. Silva's Kela Handa.
The director Stanley Perera plays the role of father to Ravindu and
what more do you expect of a BAW expert than Stanley's magnanimous love to
a deranged son who is stuck in quagmire. Stanley demonstrates the
excellence of wonderful yesteryear acting, which is a lesson to up and
coming stars.
Lake House, Ampara correspondent Wasantha Chandrapala's fourth photo
exhibition is now on at Nikatha City in Japan till August 8.
