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| Wednesday, 18 August 2004 |
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Gleanings Motif, mood, movement and music I was fascinated by the acting talents exhibited in the Sinhala play, Trojan Kaanthawo, an interpretation by Dharmasiri Bandaranaike of the Greek classic by Eunipides. This went on the boards for the 60th time, and this time, it was at the Lionel Wendt in colombo in early August. Well-versed writer in Sinhala and knowledgeable critic in English, Ariya Ranaweera has translated this anti-war play in an idiom close to the understanding of the local audiences. My being a Thamilian not proficient in Sinhala, was in no way an arduous task to understand the play in an unaffected manner. My niece, Shankari, who having lived in Chennai for a very long time, and thus knowing only a smattering of Sinhala, enjoyed the play as I did. Why I am saying this is because the play and the production succeed in communicating what it wants to say effectively even to an unidentified audience. Credible How creditably it manages to capture the undisturbed attention of the audience is its motif - the theme. Yes, it is a perennial theme: war and the resultant catastrophe.
Everybody hates war - even those who are against 'peacenicks', as they are described by the pro-war elements. War is inevitable at most times, but war should not be the end, and it should be avoided in a civilised society where human rights are valuable and cherishable. Trojan Women, is a metaphor for the status of women in ancient Greece, 25 years ago and most of all the intolerable sufferings, humiliation and torture of such noble women with stoic endurance. The pathos and fatal enslavement to the animosities resulting in war and barbaric acts is a constant reminder that bereft of human love, we would be running into dangerous self-destruction. The tragedy today Please think about the tragedy and utter barbaric acts committed on the women and children of this little island. It's not gruesome killing alone, rape, sexual assaults and all that a civilised society should condemn, have taken place in our blessed isle for nearly half a century - all due to ignorance, animosity, hatred, fear and relying on a 'recorded history', without questioning it as to its interpretation. Social consciousness It is for this reason, a socially conscious artste took the courage to stage this play, despite the inhuman cries of the war-mongers. Says Dharmasiri: "I have chosen this play as my contribution to the efforts to end the civil war raging in our land and bring lasting peace to our society... Staging this play and taking its unique dramatic message to all corners of the land, I believe, is the most powerful service and contribution that I can make as an artist to the efforts to end war and lay the basis for a society which achieves lasting peace and brings up a generation based on a culture of unity and fraternity." Theatrically satisfying Apart from the theme or the message of the play which seeps into one's consciousness Trojan Kanthawo was also theatrically satisfying. It is a piece of excellence theatre, long lacking in Thamil and English, in Colombo, that I was enamoured surprisingly.
The movement of the storyline might have been slower in view of too long a prevalence of monologue, but the physical movement of the action and the players was befittingly accurate and graceful. The body language with deliberate pauses and emphasis was aesthetically delightful. The slow and the graceful movement of the body - the feet and the hands especially - was purposeful. The costume design and the set and even the theatre script itself (with Ananda Wakumbura) was by Dharmasiri W, himself. Nimal Bulathsinghala was in charge of the lighting, sound and set construction. The 'interpolation' of modern artillery amidst traditional war weapons (to show the relevance of the theme to contemporary scene in the theatre of war) is imaginative. Jerome de Silva of the western theatre in Colombo needs high praise for his choreography. The make-up by Wasantha Vittachi was also appreciable. I have a special thanks to Rukantha Gunatilake for his captivating experimentations of enticing music mix of Mediterranean and Persian music, I guess, in evoking the atmosphere of the play at the right moments.
Lots of charming young women and valiant men took part as chorus of captive Trojan women and soldiers. They played their roles in a disciplined manner. And behind the scenes assistants did their share of contribution well. Finally, let me come to the main players of this well-made production. The players Professional acting of a high standard was witnessed especially in the role of Hecuba and Menelaus, Anoja Weerasinghe, a classic actress in Sinhala and English films and teleplays is also a stage artiste. This was the first time I had seen her on the stage. Precision, enunciation with the right tone, the movements with unspoken expressions, the controlled emotional suffering and in the outburst of moral indignation - all came out well in her depiction of the Greek epic woman Hecuba. And as Menelaus (Jehan Aloysius was to play this role, but he didn't turn up) Dharmasiri B was majestic, compelling and dramatic in his interpretation of the role. It was a pleasure to watch both Anoja and Dharmasiri bringing in good wholesome theatre. Then, I liked Junita Beling as the pretty Helen. She could improve her voice production, a little. Yasodha Wimaladharama (Andromache) plays her roles in the small screen in an appealing manner. But on stage, at least in this production, she could have acted her role in an imaginative manner in a 'theatrical sense'. Meenakumari Perera was exciting and expressive, but she was a little overacting, I thought. Jayasree Chandrajith (He was also the assistant director with Ranga Bandaranaike), Neil Alles (?), Dinesh Ruwamalee Perera and Sivadharshan Lingeswaran (Good, Thamilian!) were the other players. I am not sure whether my appreciation of Trojan Kanthawo is exceedingly an exuberant exercise. But I saw the diplomat and theatreman of yesteryears, Jayantha Dhanapala congratulating the players at the end of the show. Sinhala JVP Minister at a Thamil writer's felicitation ceremony It was an unexpected event on Sunday, August 8, when a minister belonging to the Sinhala community and representing hardline Sinhala Nationalism participating in a felicitation ceremony of a Thamilian writer and dramatist. The writer: Anthony Jeeva, who celebrated his 60th birthday. A book for children by the author was also released. (More about him and is contribution to Lankan contemporary art scene later). Judging by the newspaper reports of statements made by firebrands, Wimal Weerawansa, Somawansa and others, the JVP, a constituent party of the government power advocate a policy not understanding fully the spirit of Thamil Nationalism, now emerging because of the constant back-tracking and delaying peaceful solution to the legitimate aspirations of the Thamil people, and also Islam professing people. However, the Culture Minister, young Vijitha Herath was very clear and persuasive in declaring that people of the island belong to the human race and that unity among them is the need of the hour. But he also said that although all are equal, equal distribution is not really justifiable. He cited that distribution of 1 metre cloth to both the thin boy and the fat boy without considering the size of the fat boy would not be fair by the fat boy. What he implied was that the majority should have the major share. Whatever the political significance of this happening, I was personally happy that sometimes meeting of minds can help to understand and resolve apparently hard issues. Minister Vijitha Herath should help, as he promised to ameliorate the needs of the writers and artistes who speak a very rich and cultured langauge. I wish to thank him in anticipation on behalf of my community. Robert Knox Words On Tuesday, August 12, Richard Boyles' valuable book on Robert Knox's search for Sri Lankan words that were included in the Oxford English Dictionary and the findings and research of Boyle himself in this direction was launched at the British Council. Neloufar de Mel, Ashley Halpe, distinguished Professors of English and the British Council Director spoke. Neloufar in particular elucidated to importance of both Robert Knox and Richard Boyle in her analysis of the book. Viran Corea was the announcer. There was a selective distinguished audience which included Sir Arthur C. Clarke, Lester James Peries, Tissa Devendra, Tissa Abeysekera, Lorna Devarajah and Gunadasa Amarasekera and others. I must say that I was happy to learn that the father of "Jathika Chinthanaya," Dr. Gunadasa Amarasekera reads me. See, people with divergent views can meet intellectually and discuss things without any animosity. Can't we settle for once and for all this 'bloody' war situation and turn as decent human beings? **** Back **** |
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