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| Wednesday, 21 January 2004 |
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'Walas Pawula' : Landmark in children's theatre by Prof. Tissa Kariyawasam The concept of children's theatre has been mis-comprehended in Sri Lanka. At the same time the elders and parents have not realized the importance of a theatre for children yet. For over 30 years, artistes such as the late Eileen Sarachchandra, Gamini Wijesuriya, Chandrasena Dasanayake, R. P. Siriwardene made an attempt to change this atmosphere. A children's play was produced with adults and children by Dr. Norbert Mayer under the sponsorship of the government of Germany. Meanwhile certain people identified Sarachchandra as an exponent of children's theatre. All this is not surprising in a world where everything is chaotic. At a time of such confusion, Somalatha Subasinghe has understood the necessity of the children's and youth theatre and her contribution to it is immeasurable. She made the entry to the theatre world through Sarachchandra's Raththaran more than 40 years ago. This time her latest script Walas Pawula has been directed by Dr. Chandana Aluthge, an artiste of the new generation. I spent an absolutely inspiring evening at the Elphinstone theatre a few weeks ago along with an audience of elders and children. It is such a successful production that could be considered a landmark in the children's theatre in its history of close upon 50 years. Story Walas Pawula - (The Three Bears) is a story read and enjoyed by the English speaking child of five or six years. The story has been turned into a successful script by Somalatha Subasinghe with her expansive experience in the field of theatre. The script that is presented as a complete programme within one hour is an example that many of our dramatists must follow.
The relationship between the bear family and the human family is brought out at two levels. Presenting the bear family performing in a circus, which they do for a living is a beautiful thought. Due to the fact the play is not relating a story but a demonstration as to "this happened in this manner." The audience will experience the life of the bear family in the circus as well as in their home. Ruwanmali is the only child of the human family. Playing with the dancing dolls everyday makes her feel lonely. So despite her parents' advice, she goes into the woods in search of freedom. The woods are an enchanting and inspiring place. Ruwanmali's journey ends at the house of the three bears. She drinks their soup and falls asleep on one of their beds to be discovered by the three bears. It is here that the fairy tale has been beautifully adapted. The children of the two families make friends and get together. They make fun. This beautiful experience about the children's world is enjoyed by the children as well as the adults in the audience. The play has been scripted in a manner that excellent interaction between the performers and the audience is maintained as it occurs in a children's play in the west. The artistes also are well adapted themselves to this interaction. Message Can adults enjoy a play that is performed to be enjoyed by the children? Doesn't this plat convey a valuable message to the adults? We as adults restrict our children to the home from what is beautiful. Parents, who have been taking six years old children by their hand to the tuition classes for Grade five scholarships, are now taking three, four year old to the computer classes. The child's enchanting world of joy dies with the ambitions of the parents. The world of fantasy that the child discovers is not reachable by the parents. While bringing entertainment to the children Walas Pawula guides us elders towards a change of thought. By this production Dr. Chandana Aluthge proves himself to be one of the exceptional artistes groomed at the Lanka Children's and Youth Theatre Organisation in Kotte. Usually the performance of the artistes in a children's play are not criticized or appreciated individually. All the performers do their best in the production. The music composition, recording and mixing of Tharupathy Munasinghe and Sangeeth Wickramasinghe enhance the essence of the play. I particularly like the instance where maalakkam rhythm blends with the Southern drumbeat. Every aspect of the production seems to be competing with each other in the play. Set designing, costume and makeup, lighting and choreography nurture the quality of the play. I perceive Chandana's production as a guide which shows how a children's play should be in a country like ours where children's plays are scarce. **** Back **** |
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