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Giant Theatre

‘Mahasamayama’ features Ishwara, Umayangana, Vishnu, Basma Asura, Mahasohona, Gotaimbara and his wife Sona. Ishwara is a powerful god who is believed to bring destruction in the world. Umayangana is Ishwara’s attractive wife.

They get ready for the evening’s festivities. Bhasma Asura has been working for Ishwara for 12 years and tries to get hold of Ishwara’s ‘Isuru Dehena’. ‘Isuru Dehena’, if recited and placed on anyone’s head, has the capacity to burn anyone.

Professor Ariyaratne Athugala

Asura manages to deceive Umayangana and gets hold of the ‘Isuru Dehena’. Ishwara has to seek assistance from his friend Vishnu. He makes a pretty goddess who seduces Asura. The pretty goddess strategically makes Asura place his hand on her head. Asura is burnt down to ashes.

The devil called Mahasohona emerges out of Basma Asura’s ashes. He settles down in Tambapanni cemetery causing calamities among men. Gotaimbara is known as one of the 10 giants of King Dutugemunu. Mahasohona falls in love with Gotaimbara’s pretty wife Sona.

It leads to a fight between Mahasohana and Gotaimbara at Tambapanni cemetery. Quite unexpectedly Mahasohona loses his head for Gotaimbara. Mahasohona’s wives curse Gotaimbara and pleads with Senasuru to rescue Mahasohona. Senasuru fixes a bear’s head into Mahasohona who emerges as a giant.

Rooted in ancient folklore, it is mostly mythical. It is how we make up our minds as Asians. Sri Lankans, in particular, are influenced by neighbouring countries. Powers battle with powers and that is how societies are formed.

‘Mahasamayama’ is a revival of an ancient legend that tells the story of battles among powers.

As the play will debut at Nelum Pokuna Mahinda Rajapaksa Theatre, Professor Ariyaratne Athugala shares his viewpoint on giant theatre as ‘Encounter of the Week’.

Q: How do you link the ancient legend with modern world?

Gotaimbara

A: The story is woven around various characters. One powerful character is Ishwara. Ishwara is allegorically referred to as a destruction force. He makes wars with Asura who represents the good.

In essence Asura attempts to kill Ishwara to build a better world. He knows fully well that Ishwara is responsible for every evil deed happening in this world.

But Ishwara knows better. He employs a strategy.

He uses his friend Vishnu who is symbolic of the world’s survival. Vishnu takes a disguise of a woman and deceives Asura. Apparently Asura falls in love with the woman, who wants him to take a vow placing his hand on her head. Asura gets reduced to ashes as he places his hand on her head.

The ashes give birth to Mahasohona.

The rest is connected with history – the battle between Mahasohona and Gotaimbara. As we all know Mahasohona loses the battle with his head. Senasuru gives him a head, and becomes a major character.

This teaches us to look back at our lives. I do not think any of us can escape this story. We are omnipresent in this story in many forms.

Q: What drove you to bring this on stage?

A: My administrative positions kept me trapped without letting my creativity come out. I had no way of expressing my musings. Besides, we are now witnessing a new social environment.

We enjoy a luxurious freedom now. Stage facilities have developed a lot more.

Pretty goddess Mahasohona

Q: You must be referring to Nelum Pokuna?

A: Exactly. When you look at Greece, you can see gigantic stages and auditoriums.

Lanka’s theatres are quite small. Our tradition has been minor.

It does not help sustain the ballet tradition – I mean the world tradition.

The world has gone a long journey with great traditions such as ballet and opera, while we are still idling around with stage plays of primary level.

I wanted to be creative for the kind of Nelum Pokuna.

We have a sufficient technology. We have audience facilities.

Q: You have claimed Ediriweera Sarachchandra as inspiration. Is ‘Mahasamaya’ an extension of ‘Maname’ institution?

A: Sarachchandra made a turning point. He inter-fused the local traditions with world traditions such as Japanese Noh and western ballet.

Although many identify Khemadasa’s ‘Manasa Vila’ as the first opera, I see opera features in ‘Maname’ and ‘Sinhabahu’ too.Yes, you can see ‘Mahasamayama’ as an extension of ‘Maname’.

Western schools taught the rural theatre is not suitable for the large stage.

Sarachchandra could challenge that. That inspired me to use our masks and styles in a modern form.

Q: ‘Creative for the kind of Nelum Pokuna’. Explain please ?

A: One major stumbling block for our artistes is funds. We are always blaming poverty for not having giant productions.

Gotaimbara’s wife and Uma

But we must go forward despite poverty. We must take risks and overcome poverty. Nelum Pokuna offers an opportunity. It must be a starting point. ‘Mahasamayama’ has state as well as private sponsorship.

Q: That means ‘Mahasamayama’ is confined to Nelum Pokuna?

A: Yes, because this is a giant production. This cannot be shown on a small stage. This has a big cast. Now this is a tradition too. You come to a certain place to enjoy something.

It should be a growing culture in Sri Lanka.

Q: Wouldn’t that stand in the journey of ‘Mahasamayama’?

A: It would. But then again we must have future programmes.

There must be several Nelum Pokunas.

 

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