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I have read with piquant amusement the letter by Kay Es expressing
his/her personal opinions on this years Annual Inter-school Shakespeare
Drama Competition appeared in the Daily News on Oct 24 and in several
other newspapers. Opinions however “humble” will inevitably create
“ripples”. The writer is certainly entitled to his/her “opinion”. But
when they are reiterated in so many newspapers, one is provoked to step
in with information which might enlighten the writer and the readers.
Shakespeare created drama for his audiences both to entertain and to
enlighten them with his 34 odd plays. There is some disagreement among
scholars as to the exact number. Many eminent directors have very
successfully presented these to varied audiences in different continents
at different times and in a variety of modes.
To give at random, some of these I’ve seen in my lifetime of 75 years
– Kurosava of Japan turned Macbeth into “The Throne of Blood”, Peter
Brook, renowned English director set A Midsummer Night’s Dream in a
circus tent in Middle-Eastern costume, Othello was stunningly performed
in Kerala in Kathakali dance mode. Here in Sri Lanka, Richard Burge used
an eclectic mixture of costumes and modes in his production of The
Tempest for the Peradeniya Dramsoc – Sherwani for Prospero and
Ferdinand, modern naval costume for the sailors, didgeridoo for the
island music.
G K Haththotuwegama and Haig Karunaratne did a Hamlet in Sinhala in
Peradeniya which was later taken to universities all over the island
from Jaffna to Matara. Guided by Frity Bennewitz, G K Haththotuwegama
produced, A Midsummer Night’s Dream in a working class Sihnala
background and Jehan Aloysius has given us “Shakespeare in folksy
vibrancy” with his production “Pyramus and Thisby”. The writer Kay Es
who talks of the “Sihnala Literary Intelligentsia” is probably not aware
that Sinhabahu has been very successfully translated into English and
produced to an appreciative audience.
There have been many more productions of Shakespeare in eclectic
styles which have never lost the essence of Shakespearean drama nor have
these productions missed the communication with the audience. These are
not mere experimental flukes. These are meaningful, creative and
challenging productions which have maintained the Shakespearean sense of
tragedy or comedy while engaging and involving the audience completely.
Surely, the essence of expression in any art is not simply the
archaeological preservation of past forms but the use of knowledge an
experience of existing works with skill in execution to achieve creative
expression, “Localising,” as shown by some of the examples I have
referred to, is just one form of creative interpretation. In fact it
makes the essence of any work more immediately communicable and
accessible to an audience.
Bridget Halpe
The area covered by the above municipality is inundated with
buildings, extensions and higher level rooms erected without the
approval of the council, and in contravention of its by-laws.
The owners of these unauthorised structures, defraud the council by
underpaying assessment rates. We, the rate payers of the area (Dehiwela/Galkissa)
appeal to the newly elected mayor to direct the revenue officers of the
council to make a detailed house to house investigation into the matter
checking original plans and bringing the owners responsible to book.
Premises on Sunethra Devi Road, Anderson Road and Kadawatha Road,
teem with these unauthorised structures.
Rate payer
The clock tower bus stand in Kandy is full of potholes which are like
craters. These potholes get filled with muddy water and oil on rainy
days and make it impossible for the public to use the stand.
Some buses, especially those to Wattegama, Menikhinna, Matale and
Madawala drive through other bus halts to avoid these huge potholes. The
public are put into great inconvenience as a result.
According to public, the entire bus stand needs carpeting. The patch
work done frequently does not last long.
S M Jiffrey Abdeen
Kandy South group correspondent
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