Dramatisation of Rama-Sita story

Sanctuary

Author: Hema Ramakrishna

Vijitha Yapa Publications

SANCTUARY by Hema Ramakrishna is a dramatisation of the story of Rama and Sita, a Vijitha Yapa Publication. According to the author the play deals with the core elements of the Ramayana Story containing the abduction of Sita and the defeat of Ravana by the combined forces of the Vanaras and the two princes.

"Further the anti-hero or villain is demonised in turn, and given the ten heads, made into a repulsive caricature - half myth, half monster - as the collective consciousness is yet to out grow its infancy in its handling of the various disparate elements in the collective ethos" says the author in the preface.

In reviewing the play it is important to bear in mind the descriptions used in the interpretation of the core elements of Rama - Sita story as epic, legend, myth "(Some ideas on the nature of the myth are crucial) she says, in addition to those broad generalisations we already have in our culture on aspects of knowledge.

Smriti, where we are indebted to structures remembered and lodged in the traditions; Sruti, where we acknowledge the part played by revelation/ inspiration (divine) and itihasa and purana, where we can delve for our myths and legends proper, be it from history or traditional ancient lore."

This is the backdrop selected by Hema against which I review the Sanctuary as a play of six scenes and not consider interpretation and legendary values as history or as puranas.

The introduction was necessary on the other hand as Ravana is Sri Lankan and be accepted as a king of kings great musician (Gandarva) an unparalled physician, innovator and scientist etc. (according to our legends) with kingly values and decent behaviour.

Whatever be the legendary versions I wish to free myself from bias and review the play as a dramatic presentation for the enjoyment and enhancement of cerebral and cultural values so common to Indian - Sri Lankan peoples.

Dramatic

The play opens with a Prologue very dramatic with a medley of sounds from a forest background: "the call of birds and cries of animals, with the wind soughing intermittently in the trees and with Sita's voice screaming for help, calling Rama and Lakshmana."

The building up of horror is heightened by the eagle being attacked and cut down, followed by the sound of horse galloping and after the noise, a pin-drop silence.

Actors called Forest Players wearing masks of trees enter from both wings and recite the Prologue and an Epilogue which Sage Narada renders at the end with sounds of the forest background.

Within the six scenes the author has successfully brought in dramatic elements highlighting the tragedy of Ravana and pitifully exposing the gendered position of Sita.

The two characters Chandanika and Mandanika remind me of the function of our own poteguras. The first introduction of Ravana to the audience is with Chandanika's introductory reference "Raja Ravana blazing like the sun in the sky" and his queen as "radiant as the moon at night."

A note of impending disaster is hinted by Ravana himself uttering "morbid predictions made by the astrologer? Warning us of my untimely end!" He hastens with "Did I not strike a barter with the goods, pledging ten human heads in sacrifice? To redeem this royal one that sits upon my shoulder!"

The sacrificial event is narrated in words with royal slender indeed.

In contrast scene 2 Sita clothed in hempen emerges from a hut. She dozes in a dream world Ravana enters enraged by the mutilation of his sister's nose. He burns for revenge "to hack them into little pieces like the deer I found there, wandering with flowers round her. Gored to bits by my handy blade."

Demon

A ruthless demon is presented from the start. Sita invites him to sit on a deerskin and fetches fruits and water. She describes Ravana "How fierce his face, burned by the sun!"

As a woman not only does Sita offer hospitality to the enemy, but also describes to him Rama and Lakshman foolishly so that they can be identified.

Ravana introduces himself adding "All that I need and want is mine for the taking, no one dare stop me." There is no Dadumonare Yantra. She is abducted on horse back.

Scene 3 is planning, plotting rescue of Sita by Rama and Lakshman more talk and little action. The audience comes to know the past histories and the epic with the rain raining around. Hanuman is introduced, who has found Sita's jewel. Hanuman takes Rama's ring to reveal his relationship to Sita when he meets with her.

Scene 4 - Two women meet and a lot of hot news is speared out - Sita had been a prisoner in Asokavana five moons and her tongue had been cut off for defying the king. His favourite now are Rambha, Swapna, Amrita. He is a womanizer. Even Urvasi is forgotten. "As for the other (Sita) she is no use to anyone. And Kantaka retorts "No use? What's the use of being a woman if she doesn't put to use what's hid between her legs."

Trijata elaborating the plight of Sita says "From where she will stand and watch you, eyes unblinking. For speak she can't. And listen she won't, not to a single word, and to make matters worse clad in rags and tatters. No thought for her condition, plain enough now for all to see!."

Kantaka - What use is it. When you are born a woman to resist in the first place?......

The beginning of the end is in sight. A Vanara has entered the palace grounds, bashed some heads escaped. The Vanara has set the Asokavana on fire. It is Hanuman killing two, wounding nine. Ravana is in a rage and shouts at Vibhishana. Vibhishana foretels "It'll bring us yet to the brink of danger."

"I fear for Ranka and her ruler."

"I'll flee, before the tide moves and darkness falls. Ravana is alone in the gloom.

Omens

Bad omens of owl hooting three times bats wheel about in numbers as Ravana utters "She is the cause of all our troubles. "Like a wild cat from the jungle she raged, snarling and spitting venom, calling down curses on my royal head. I had her silenced, severing her tongue at one stroke. Better by far to have sent her to her death, torn her apart, limb from limb and put an end to it."

Scene 5 -Vibhishana, brother of Ravana, chased away by Ravana is now in the camp of the Vanaras. The camp of the Vanaras is a new area explored for the first time in the drama. It is preparation for the final clash of two brothers one against the other Vibhishana with the Vanaras and Hanuman.

Continuity of the thought that Ranka (Lanka) was built by the Vanaras is predominating. The low position given to women runs through out the drama "War for a woman, they now declare, if offends their pride."

The plot thickens with plans for a surprise attack on Ranka. And Hanuman says "The blood sings in my veins, calling out for action."

The final scene in the drama is the takeover of the palace by the Vanaras; and Hanuman narrating and putting the audience wise to what took place. Meeting of Rama with Sita according to Hanuman and unexpectedly his retort "Get out of my sight! For, I must hide my eyes in shame." "He turned away" says Hanuman.

Lakshman and Rama enter embracing each other. Lakshman boasts of how he killed Indrajit and Rama how he severed the head of Ravana while asleep. Vibhishana is proclaimed king of Ranka.

Henceforth all is narration the funeral of Ravana and the annointing of Vibhishana indicated by the water from a golden pitcher poured over his hand by Rama. "I hereby install you as king of Ranka and Lakshman says "Sita is no more, she jumped into the royal pyre."

"She is become our burnt offering."

Rama crumples down on the floor with the ring she had left.

The cast freezes.

Enter Sita as Flame "The obsequies were they performed befitting the End?" with the chorus singing.

"May she find herself a Sanctuary."

The Epilogue which follows seems unwanted.

- Eva Ranaweera.