The ‘Method’ in Malani’s acting

K. S. Sivakumaran

Sri Lankan seasoned actress Malani Fonseka was judged as the Best Actress at the International Film Festival of India last year for her performance in Prasanna Vithanage’s film Aakasa Kusum.Many respectable film critics found it surprising that both the film and the players received laurels. They did not grasp the ‘method’ in the methodological presentation in the film.

What is this so- called ‘Method’ in acting?

We have to seek information on the subject. Wickipedia is one source. This is what it says briefly:

“Method acting is a technique in which actors try to engender in themselves the thoughts and emotions of their characters in an effort to create lifelike performances.

It can be contrasted with more classical forms of acting, in which actors simulate thoughts and emotions through external means, such as vocal intonation or facial expression. Though not all Method actors use the same approach, the ‘method’ in Method acting usually refers to the practice by which actors draw upon their own emotions and memories in their portrayals, aided by a set of exercises and practices including sense memory and affective memory.

“Method actors are often characterized as immersing themselves so totally in their characters that they continue to portray them even offstage or off-camera for the duration of a project. However, this is a popular misconception. While some actors, notably Daniel Day-Lewis, have employed this approach, it is generally not taught as part of the Method.

Revolution

“Method acting has been described as ‘revolutionizing American theater.’ While classical acting instruction ‘had focused on developing external talents,’ the Method was “the first systematized training that also developed internal abilities (sensory, psychological, emotional).”

Fonseka plays the main role but the actual physical action by way of ‘acting’ is by Nimmi Harasgama. Malin’s role is deliberately subdued to present a ‘psychological’ acting. This feature is presented through the ‘method’ school of acting going by the definition above. This is the first time a Lankan female had portrayed such a method in a Sinhala film, I believe. Hence the prestigious award.

The credit of such an innovation goes to the well known international film-maker Prasanna Vithanage. This enterprising director also produced the very successful Machang (directed by Uberto Paolini) gaining plaudits from other countries.

Prasanna is in his late 40s started his career as a theatre man. He had a socio-political agenda even then. He translated and directed in Sinhala Bernard Shaw’s ‘Arms and the Man’ and Dario Fo’s ‘Raspberries and Trumpets’. He staged another Sinhala drama which I missed.

It was, I learn, a combination of two short plays by Dario Fo’s ‘The Virtuous Burgler’ and ‘One wore a suit and One wore Tails’ The Sinhala title was : Horu Samaga Heluwen.

So we find that Prasanna can combine theatre arts and cinema technique in his films. he has now directed six Sinhala films all noteworthy. Next comes Malani’s character. I do not want to tell the story and the plot. The storyline is very thin. That is why most viewers felt that there was no action in the story but there is a dramatic plot in the film. Malani lives a quiet and obscure existence and she is the heroine in the film. Her antagonist is her daughter, portrayed by Nimmi.

Confrontation in psychology

The confrontation in psychological terms is the drama in the film. Malani plays her role as if she has forgotten her past and Nimmi’s hatred of her turns into love particularly by the latter.

It is the ‘method’ conveyance of the character that deserved attention from normal playing. Restrained, unemotional, showing dead life while actually living from day to day - all this is visibly and innately shown to intelligent viewers. Please ‘reread’ the film and you will get the point I am trying to explain.

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