Mangala widens the scope of short plays

by E. M. G. Edirisinghe

What we call short plays are known as one act plays. They are made of one laconic, pithy, simple single act. It does not stray from the compact plot nor it grows complications or is burdened with complexities.

It is directed towards a decisive end leaving an impact that not only commits it to a clear mind, but leads the theatregoer to an ecstatic experience in one single breath. A one act play suggests more than what it tells. In essence and conveyance we may draw a similarity between a (short) one act play and Haiku poems which carry a load of meaning in one single breath.

Mangala Senanayake is a well-known theatre personality whose creativity stretches to ever sphere of theatre activity. What struck me most is his multifarious career as a dramatist displaying his competency to write and direct shorter version of one act plays.

One act play as we know is precise, concise and sharp leading to a persuasive end. It leaves no blanks or gaps for imagination of the viewer, and is closely a singular expression without dissipation of the content.

One act plays started in Europe as a preamble or an introduction to the audience in the theatre who have flocked to watch a stage play of several acts. Until the latter comes on stage the audience is kept absorbed and amused with a one act play which prepares the mental frame of the audience to get into a proper mood.

The substance of the one-act play is devoid of riddles and complexities which makes the viewer feel uneasy. The main play yet to come on stage requires their intellectual and emotional sensitivity turned without dissipating the sensuous energy to ensure reach of wisdom through joy.

Duration

On the other hand, a very short play which may be of 5-10 minutes duration embraces and illuminates a different sense but no altogether one divorced of the conceptual substance of a one act play.

Such plays could hardly fulfil the role of a prelude to an established play of a longer duration because they are too short to prepare the audience and sustain them intellectually to enjoy the longer play yet to come on stage. It serves an evening where several of such play shown together which feed the audience with different singular and lighter emotions within an easy mental make.

So the cluster of very short plays which Mangala had brought on stage are basically entertaining, convincing and absorbing in much lighter vein without straining the intellectual sensitivity of the audience. They provide an enhanced taste of entertainment but with a touch of subtle artistic delicacy.

Mangala had drawn material for his mini-dramatic presentation from diverse social and cultural layers, mostly enriched by the fertility of rural background which was the school from which he learned his art and got his training. Yakkuru Iskole is an excellent satire which puts the eduction system to ridicule. The officials in the department are totally ignorant of what they have to do for what they are paid for; and their inadequacy is stripped bare in this tiny play.

A principal of a school was on a punishment transfer to a school in a very remote area. The buildings have already collapsed, and the school was no more. The department knew nothing about that the school was non-existent. The playwright thus translate the ridiculous act of punishment on the principal to take a sneering view of the ignorant and inefficient state administration.

Strength of poetry

On the other hand, Onna Horo Kavi suggests the innate strength of poetry which can create an impression on a person with a taste for art. Here it centres round a thematically sensitive incident involving a poetess whose accidental and strange meeting with her first admirer of her poetry which finally leads both of them to fall into each other's arms in love. A pick-pocket finds a book of poems in his loot, which he thought should be given back to the writer because he too, once loved poetry.

The poetess finds her first connoisseur whom she considers an asset and was adamant to keep him. The pick-pocket has no love for her but for his job. However, when she recited one of her poems back to him, it not only fascinated him but roused his dead or hidden love for poetry he had in his school days. Finally the episode ends with a strong union of intellect and emotion. She is the form of the poem while he is its content, which completed the weaving of a life's poem.

Inspired by a popular Jataka tale Denwath Eya Bima Thabamu is a lively and deeply conceived dialogue playlet. The entire length of the single act rests on what the dialogues convey wherein lies the substance which brings out the difference between a physical act and a mental act confirming the fact that everything proceeds from the mind and whatever is done with a vitiated mind is vitiated too.

The two monks (ascetics) with different mental compositions and training in discipline, perceived the impact of a certain act from the point of view each of them have mastered. This whole episode is deftly brought out with a dramatic effect that captures the imagination of the viewer and leads him to realise what the nature of spiritual enlightenment and the taste of mundane thinking is.

Terse content

In Podi Sadu the dramatist touches on an intrinsically hidden issue that prevails among some members of the clergy. The degree of restraint he had maintained in articulating the characters is strong and well defined. He is more subtle and suggestive than being openly critical or expressive which makes the play one of his best making the audience more receptive and awakened.

The young monk disrobes himself to get back home to attend to domestic scores. The chief monk unsuccessfully pleads him to stay back. The young monk found his home uncomfortable, and on return to the temple found the chief monk missing and disrobed. Finally, the two of them get together once again in robes.

Thus the suggestion that their relationship is more mundane and sensual than spiritual and intellectual. This assertion is clearly and cleverly delineated using his dramatic skill.

Mangala Senanayake takes the concept of one-act plays with its sussinct terse content which itself has no long tradition in our country for it grow and mature into a powerful form of art. However he takes it to a new height with its scope widened to bring in new talent and convictions into theatre by neatly compressing the thematic treatment into a compact solid production.

Insignificant socio-political or cultural issues have been given a rare significance and application opening a fresh dialogue for such vents displaying its potential as a medium of theatre.

The young promising talented dramatists can take it as a guide and measure it up to take on relevant current issues on stage. The one act play is the ideal medium for the young budding theatre enthusiasts to express themselves effectively and forcefully.

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