Cinema and theatre on the decline
|
|
|
Question: You were honoured with the award for the best supporting actor. How do you feel about this national recognition of your performance?
Answer: I consider every such award as an honour conferred on an artist. Even in the instance of another artist winning an award it is also a joy for us. An award is not an encouragement because an award is not itself within our target. it is a by-product and any recognition of our performance, I rate very high.
Q: How do you see Kulatunga’s character in the film Ran Diya Dahara?
A: When evolving the character of Kulatunga, I was influenced by my own experience gained while roaming in the streets and slums as a young man. In the process, I have met several Kulatungas in real life and I was enriched by their conduct and manners they employed while earning their living. The discoloured and weather-beaten diary is their life and all what they treasured was in it.
When I was to play the role of Kulatunga, I was given a new pair of slippers, but in order to make it look worn out and also to give the appropriate gait for my walking, I took a slice off their soles. Kulatunga had no concern whatsoever for the other person and the smell with which such people are associated, so I had to assume mentally that it would reflect in his facial expressions.
Q: How do you describe the role of a supporting actor in a film?
A: Supporting actors assist to take the entire creation to the audience. In the meantime, they are instrumental in weaving the work into a cohesive and compact creation. They maintain the balance of the play.
The supporting artistes must be able to find the subtleties in their respective roles without attempting to score points for themselves over the others. Within one’s own role the artiste must perform confidently and powerfully.
Theatre
Q: Before you entered the cinema you were associated with theatre and drama. How do you view it today in retrospect?
A: When I got a chance to act in Sakwithi Suvaya, my first film, I was learning and training to be a stage artiste under the tutelage of Dr. Solomon Fonseka. My first stage play was Ahimi Jeevitha. John de Silva theatre is the worst theatre where an artiste has to perform. They have to scream to overcome the disadvantage of lack of acoustic facilities. Perfect voice modulation is possible only in the Lionel Wendt.
To have to shout at the top of one’s voice on the stage affects his general performance. Whether on the stage or in the cinema acting is generated in similar form; the difference is only in the technology used. On the stage we can fake emotions, but in the cinema it should appear to be real. For example, take crying. In the cinema tears should flow down the cheeks, but need not be so on the stage.
Q: You as an artist has excelled in the cinema, theatre and television. How do you explain the differences in acting if any, in the fields of these art forms?
A: The television audience is much more relaxed than the cinema audience. Therefore performance for television must be more powerful. Otherwise, one cannot retain the tempo to sustain their attention.
Even dialogues are important to keep them glued to the channel without prompting them to switch on to try another channel. Facial expressions should sparkle enough to carry the right impression to the viewer who is watching a teledrama broadcast on a small rectangular box.
Characters
Q: Will you play any character offered to you? Or, do you have any special preference to certain kind of characters?
A: There is no such thing in my mind. Also, I have no dream characters into which I like to breathe life. All what I am interested in is acting, as I do look forward to monetary satisfaction too. I have so many streams of roles, and I can’t fall into type-cast characters or limit myself to a selected category of roles.
Q: Don’t you contemplate on re-entering stage, and if not why?
A: I have no idea to get back to the stage. My last stage-play was Yakshagamanaya. Yet, I am prepared to pass my knowledge and experience on to the next generation of artistes. The biggest drawback for an actor to survive on the stage is the lack of proper theatre-halls.
Theatre-halls complete with all accessories are essential for a realistic performance on stage. There is also no proper place for rehearsals. Moreover, the stage is dubbed as a place where the artistes have to physically suffer. Another important reason for the decline in theatre is that the stage artistes are neither socially nor individually recognised.
Q:What do you think is the role of the director of a play or a film in handling the artistes?
A: A director must be always behind any good performance of an artiste. We have to have full confidence in the director. It is only in his mind or head that the totality of the creation rests.
However, our views may be conveyed to him for his consideration, but the final decision rests with the director. We have to depend on his guidance and whatever we see which goes beyond his vision should be discussed with him. However, a good director needs good actors too.
Single episode teledramas
Q: I have seen you performing particularly well in single-episode teledramas as in Seenu John. Is their any special reason for this ?
A: A single-episode teledrama is a compact, neat production. It carries feelings and emotions of exclusive nature with subtle nuances. The artiste should take such characters into a total, singular grip. Within that unity one should give his best with a comprehensive understanding of the spirit of the play. And, that makes the play more appreciative and emotive.
Q: You are recognized as one of the best character actors in cinema today. How do you assess the relevance of method acting in our cinema ?
A: I have learned the art of method acting under Dr. Fonseka; but I do not think we should confine ourselves to method acting. There are other forms of acting too. My rehearsals for Punthila gave me the benefit of learning some of them. Anyway, I myself proceeded to find alternative ways of acting which suited me, as well as the nature of the character I had to play.
On the other hand, today nobody is practising the art of method acting, nor the students are keen on studying it. What the present day youth are interested in is publicity, and acting comes last. Acting cannot be taught; you have to be born with it and learn to reach perfection.
Q: Do you see any change for better or worse in the movie acting between the time you joined the cinema and today ?
A: There is a big difference. We entered the cinema with a substantial knowledge of the subject. Then the opportunities for the artistes to perform were few. But we had good plays then, where we could display our acting talent.
Today, acting is a fashion and an ornament. Today’s youth do not want to learn or improve on what they know. However, the stage is a place where you can still see some good performances which earn them recognition too. But not so in the television or the cinema. I notice a general decline in all acting today.
Advice
The audience will soon reject such performance in no time. One’s physical appearance should go with the performance. The figure alone cannot sustain them in acting. They must embellish their figure with talented acting.
Q: What advice can you give to those youngsters who take to movie acting today ?
A: One has to devote at least one hour everyday to learn and improve on the art of acting. He must read and study the subject. I remember what Gamini Fonseka once told novice artistes. “Make a determined effort to move away from apprenticeship status.”
Q: What is your opinion about the future of Sinhala cinema and theatre?
A: The stage is dipped in unimaginable darkness. Positive audience reaction, joy of acting and appreciation of good theatre is totally missing today. We have no theatre audience. Although the cinema has still got some audience, I can say both the cinema and the stage are on the decline.
The poor security situation in the country is the prime cause for this sad situation. Also, I see there is no elevation in the audience taste either for theatre or the cinema.
Q: In the sphere of art what do you hope to do in future ?
A: My sole ambition is to develop my institute Studio Artiste. Financial constraints have slowed down its progress. As workshops alone will not help drama and theatre we must organize an institute which would help the youngsters who are keen on studying and taking to performing arts at least on a partially professional basis.
..................................
|
|
 |
 |