Sekara the poet and Mano the dramatist
Prof. K.N.O. Dharmadasa reviews Jayalath Manoratne's
stageplay Lokaya Tani Yayak
The ancients called theatre Drushya Kavya, "Visible poetry". What
appears on stage in audio-visual form, dialogue, music, gestures,
costumes and stage decor, all contribute to elevate the mind just as
good poetry does.
Jayalath Manoratne |
Jayalath Manoratne, the village boy from Hanguranketa when he stepped
into the Peradeniya University some 30 years ago most probably knew this
adage. But the full meaning of Drushya Kavya would have seeped into him
as he went through a long tutelage under Sarachchandra, playing the lead
role in two of the master's most memorable plays, Pemato Jayati Soko and
Vessantara.
These two plays in particular, have a somber and poignant quality to
bring out which Manoratne contributed in no small measure in the way he
portrayed the leading roles, for, as theatre goers know, the writer and
producer contribute only part of what a character would be, what the
character will leave behind in the memory of the Rasikas will be what
has been contributed by the actor.
Sarachchandra had the knack to pick out the correct actor to play a
specific role and his choice of Manoratne as Uddala (the ageing teacher
whose love affair with the beauty Swarnatilaka ends in tragedy) and as
Vessantara (the patriarchal monarch torn between the love for his
children and the love for his people) was no accident.
Since those formative years, Manoratne has matured, written, directed
and acted in his own plays and if we take his contribution to Sinhala
theatre he has been an outstanding figure among the products of
Peradeniya.
While joining the galaxy of great alumni in this field such as
Gunasena Galappatti, Dayananda Gunawardene, and Bandula Jayawardene he
has the unique distinction of being an exceptionally great actor
himself. The singular feature of his achievements in his versatility: He
can, with the same flair, play tragic as well as comic roles.
It also needs be added that Manoratne's talents have been confined to
theatre alone. He has written poetry and fiction in addition to writing
and directing plays. It was undoubtedly the poet in Manoratne that
prompted him to see in the poetic creations of Mahagama Sekera the
superb potential to be transformed into theatre.
In his comparatively short life of 48 years Sekera brought out a
series of highly memorable lyrics and several long poems, in addition to
works of fiction, plays, a film and a number of paintings. Among his
poems, in addition to works of fiction, plays, a film and a number of
paintings.
Among his poetic creations, four poems stand out as embodying his
vision as thinker and social commentator. They are, Mak Nisada Yat
(1964), Rajatilaka, Lionel Saha Priyantha (1967), Bodima (1970),
Nomiyemi (1973) and his last work Prabuddha (written in 1976 and
published in 1977).
These works spanning a period of 12 years depict Sekara's sensitive
observation of the socio-cultural transformation that was taking place
around him. And if we are to take proper note of what he had to say the
social disintegration and cultural degradation in modern times had
already started when he was writing.
Although the "open economy" had not been introduced and the ethnic
riots of 1983 had not come about and the fratricide of 1988-89 was yet
to come, Sekara as poet existing at the most sensitive point of the
society's consciences seems to have had an inkling of what was to
follow.
Hall mark
Who is this man Sekara? The kind of man he was, comes out beautifully
in the introductory lines of his last work, Prabuddha (I translate):
Placing a soft
white paper
Upon a large
elegantly polished
table
Using the pointed
end of a Parker pen
I have no poem
to write
Returning home
with you
In a train
brimming with
people
Picking an empty
cigarette packet
Using a short piece
of pencil
I have a poem
to scratch.
Those of us who knew Sekara personally are aware that is no mere
posturing. It is true to the very letter of the word. Sekera was such a
simple and unassuming man that many people who travelled with him daily
from Gampaha to Fort did not know that they were (literally) rubbing
shoulders with a great artist.
The parallel with Mano is striking. Those who know Manoratne will
vouch for the fact that self-effacing humility is his hallmark.
Obviously two similar artistic personalities have come together in
Lokaya Thani Yayak (The World is One Expanse) which came on stage on the
22nd December at the Lumbini Theatre.
Manoratne begins the Ranga Patrikava introducing the Lokaya Tani
Yayak with the above quotation whose concluding lines are as follows:
Even then
brothers!
That poem I am
writing verily
about you
To many among
you, I know
Will not be of
meaning today
Some day
sometime in
the future
When the world
will be more
salutary than now
You will read it,
I also know
With much
more affection
than today.
Hope
Hope springs eternal in the mind which looks at life with kindness
and concern, as very often happens in the case of poets and other
artists. There are enough things to despair in the world and the artist
will turn his critical eye often exposing things which others have
passed by.
The true artist, however, will not stop at that. He will not merely
expose and leave with a cynical smile. He will try to suggest ways and
means whereby a better social order can be moulded and thus give
humankind some hope to live by. Manoratne has added as a response to his
fellow artist the following lines, which again while being in the
authentic Manoratne style are also reminiscent of the style of Sekera:
(I translate again)
The world has not
become salutary
in any way
Except for the
increasing of
malevolence
alone
But beloved poet!
the poem you
write
Is much in need
today than on the
day you were
writing.
The message Manoratne wants conveyed is clear. We living today have
to sit back and take a long look at what Sekara wrote decades ago.
Engulfed are we in the midst of an economic rat race, a disintegration
of values and cultural norms and an ever growing ethnic strife, will
benefit collectively if we remind ourselves of some lines Sekara penned
as if prophetically:
The initial step in
moulding a
transcendent
society
Is building a world
satiated with
Food, drink,
apparel, ornament
And dwelling.
Once satiated of
those will he
realize
That real
satisfaction is
not that.
Lokaya Tani Yayak, taking this clue from Sekara depicts as its
central theme the story of the heiress Yasoda, who squanders all her
wealth in the pursuit of sensual pleasure. Basically, she is not a bad
woman. She was once in love with Prabuddha who refused to join the
consumerist world she was in.
Being a weak character Yasoda fell an easy prey to the social mores
of her times. The above lines uttered by Prabuddha many years later,
when he meets the broken down and decrepit Yasoda - who had all the
"food, drink, apparel" etc. one can dream of - provide us with the clue
to what real happiness and real satisfaction is.
All of us have heard the oft-quoted words of Sekara Pasak kalaa mama
tavat satyayak. Saagatayen pelena tenaka vagaa novana bava Dharmaya (I
came to realize another truth. That is, that Dharmaya will not come to
fruition in a place oppressed by famine).
And those words come just before he comes out with the above quoted
adage that satisfaction with the material needs of existence will not in
itself bring real happiness and real satisfaction. Then what is it that
brings about happiness and full satisfaction in life? Continues Sekara
emphasizing the importance of spiritual development:
Once he has taken
that step
Man will not do
sinful actions
He will not hate
He will not be
angry
The whole world will be a receptacle to his loving kindness.
Spiritual development
Once man has achieved material wealth he has to realize that such
satiation alone will not bring happiness and he will have to turn to
spiritual development is the message Sekara wants conveyed.
Unfortunately, however, many of those who quote Sekara's words on the
needs to fulfil man's material needs stop there.
That, we should all agree, is being very unfair by the poet. It is to
the credit of Manoratne that he has brought out the full essence of
Sekara's text and his message in his Lokaya Tani Yayak.
The coming together of Sekara and Manoratne in this theatrical
creation is a highly rewarding experience for the Rasikas, for, it was
very often the same people who enjoyed the work of each of these artist
separately. And now we have the unique situation of Manoratne bringing
Sekara on stage.
Who else, other than Manoratne, could have empathized with Sekara to
give visual interpretation to the texture of his verbal compositions?
And what better choice as actor to bring out the subtleties of feeling
in the words of Sekara with candor and self-restraint than Mano himself?
In his production, Manoratne has drawn characters from Sekara's
Bodima, as well as Nomiyemi to embellish the message embodied in
Prabuddha. The prologue with Soysa, Helena and others is an introduction
to the trials and tribulations poets have to undergo in the society of
today.
And, the episode with Ramani and Yavdiv (lifelong or eternal) Silva
depict the absolute power of money in the present day social milieu.
These episodes prepare the ground for the drama of Prabuddha and Yasoda
to unravel on stage.
In this production Manoratne has been supported by several talented
artistes. The stage sets (of Dharmapriya Dias), particularly the
elevated gallery with the functional purpose of adding emphasis to
certain characters and episodes, are highly effective.
The music by Navaratne Gamage, gesture compositions by Ravibandhu
Vidyapati and costumes by Swineeta Perera blend together beautifully.
What I found most satisfying as a theatre lover is Manoratne's discovery
of an assemblage of new talent, both male and female, in this
production. Let us hope that they will carry the torch and keep alive
the tradition so painstakingly built up by the former masters.
While drawing on the essence of Sekara's poetic meditation on modern
society Manoratne has brought in his dramatic expertise to bring on
stage what he has termed a Ranga Kavyaya (theatre poem). Personally, I
would prefer it to be enjoyed in the manner it is presented and not in
the conventional mode replete with dramatic happenings.
Sekara's contemplations on what was going on around him and his
sensitive explorations into the human psyche have to be meditated upon.
That is the only way we can do justice to his poetry.
..................................
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