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National Drama Festival 2005 Original plays reflect socio-political life
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It is a reflection of the intellectual and creative level of theatre at the time of the festival. Yet, it is a forum of competition for national recognition and State honours. The National Drama Panel headed by Douglas Siriwardena has put in a lot of hard work to make this festival one of harmony and understanding among the competing dramatists.
This year there were nine plays which made it to the final round out of 16 plays which competed in the first round. Making a departure from the previous year where only one play was an original with the other six plays being either translations or adaptations, this year the ratio was 5 to 4 in favour of the original plays.
So we witness a revival of the genre of original plays which truly reflects the socio-political life of the people with their ethos, attitudes, conflicts and contradictions being discussed openly and boldly. That much of freedom our dramatists do enjoy at national level.
The festival opened with veteran dramatist R.R. Samarakoon's Kaputu Bo written in 1967 dealing with the subject of promiscuity with the husband claiming to enjoy the right to it while denying it to the wife, being revived for the present generation of theatre goers.
Western cultural concept that woman is made out of a rib of a man, reduces her to dependent subservience and man takes dominance over her who should exist for the service of man. Don Juan produced by Sunil Chandrasiri is a reflection of the suffering of the oppressed in times of war whether in the past or in the present.
Those who command and commit people to war, enjoy the luxury of life whereas disaster and despair strikes the poor who feed the fighting capacity of the nobility, for the glory of the latter.
Fresh meeting
Parana Ayage Kathavak was adapted to stage on a translation of the original an Old-World Comedy by Alexi Arbushove. Buddhika Damayantha who directed the play is now a veteran in reaching foreign plays for the local theatre.
It depicts how whether man or woman, when deprived of proximity to physical aspect of their lovers, how love as a spiritual stimulant to life remains very much alive awaiting an opportunity for its materialisation.
With every fresh meeting of these once two strangers begin to endear themselves to each other and finally their emotions merged into one of fresh love leaving the old loves behind.
The only outstation play to make it to the final round in the festival Mitiyawathaka Geethaya of Noel Wijerathne was an attempt to portray how contradictions within and among communities, nations or politicians could end in war destroying each other bringing misery to the people and the country.
M. Safeer adapted Joseph and Maria to stage as Mama Ipadune Iye Novei. Thematically it is similar to Parana Ayage Kathavak, but its dramatic content conveys a story of two known people being involved into recall the youthful memories which rekindles flashes of love and sex. Essentially a dialogue play it was set against the socio-political background prevailing at the time of the Russian Revolution.
Malsara Bisaw of Hemantha Prasad is adopted to stage on a translation of Happy Birthday of Mario Cameloffi. Hilarious and lightfaced, it portrays the domestic chores while flinging into pursuits of extra-socio-sexual relations.
A fine original play Me Heeneta Namak Denna of Priyantha Kaluarachchi is a great dramatic effort to study the status of relationship between job satisfaction and what one calls a source of income to make a living.
Playwright's journey in search of whether the present incline of the youth to do some job to satisfy the socio-cultural environment which expects to realise one's personal stability and standing a stepping stone to success.
Persuasive
Kaushalya Fernando, the veteran stage actress turns director by bringing Garcia Lorca's Blood Weddding on stage for the festival under title Sanda Langa Maranaya. Intrusive and persuasive it is a fine production that could create a strong impression on the viewer.
It is a tragedy of unusual nature where both fighters were killed by each other with each of them failing in their goals in life. Dramatically it appeals to an advanced theatre audience with music, acting, sets and lighting reaching perfection and with a neat finish.
Rajitha Dissanayake who has produced several good original plays always with a critical approach to socio-political issues this year, his production is Sihina Horu Aran.
It reflects contradictions operative in the existing society which show reluctance or impotency to realise a solution or a desired target in such areas as politics, romance, music, business, profession etc.
Man's desire to reach mastery or dominance sees no bounds with greed and over-ambition for power, honour and pleasure. What is most interesting here is that no material ambitions stretched to seek an end. Everyone is self-motivated and self-seeking with no sights on selfless orientation.
While Sanda langa maranaya was selected the best production (translation) at the festival, Sihina Horu Aran won the award for the best production (original). Jagath Chamila breathing life to the challenging role in Don Juan was the best actor while Jayani Senanayake for her performance in Sanda Langa Maranaya was recognised as the best actress.
The festival itself left no sour taste or scars of contention for recognition as on many earlier occasions. Thus it ended on a peaceful note with national drama emerging the sole winner.
If this national festival as the cynosure of all theatre-enthusiasts is to thrive in this convivial atmosphere in the future too, the National Drama panel together with the Arts Council can be proud of creating a healthy theatre culture in our country where theatre itself is everything for them.
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