Art attack
By D.C. Ranatunga
S.
H. Sarath is a provocative painter. I had a glimpse of his latest paintings
which he will exhibit this week at the Lionel Wendt - from July 29 to 31.
They are bound to create a lot of excitement, talk and debate. He covers
a wide range of contemporary issues and current problems in a series of
black and white line drawings.
Why in black and white and not in colour? I asked him. "It's for
better impact," was Sarath's short answer. And the subjects? "We
can't get away from the war - the havoc it has created. The agony of the
people," Sarath said.
"What a waste of money and lives? We have to impress on everyone
the need to work towards peace."
Easier said than done, he realises, but as an artist, he is convinced
that he has to bring the message strongly to the people.
Sarath sees the war as a futile exercise. What do youngsters do? They
go to war on their own accord. But the result is ending up in a grave.
Is it worth it? he questions.
He calls his exhibition 'Patachara Two Thousand'. He has an explanation.
"In the time of the Buddha, it was just one single Patachara that
we know of. A mother who lost her children, husband, parents - the whole
family. Today the number of Patacharas is so vast as a result of the war.
So many mothers have lost their children, so many wives are losing their
husbands."
He highlights the cost of living. "The telephone is not a luxury.
Every citizen needs it. But the way telephone rates are going up, how many
of us can afford a telephone?" he asks. "So is electricity. So
is water.
These are basic necessities, but at what price?" The way he highlights
these problems is interesting. Provocative. "The bills are unbearable.
But we have to suffer -silently."
In one painting he depicts a man on the grease pole trying desperately
to reach the plate of rice on top of the pole.
"It's a big struggle for him to reach the plate. He may never reach
it. That's what the poor people are undergoing."
Sarath stresses that big buildings do not mean prosperity. He believes
money must circulate freely if people are to enjoy a comfortable life.
But
most people have a low income. The low wages they get are barely sufficient
for them to survive. "Can't we learn a few lessons from developed
countries? Can't we get some ideas from them and do something to improve
ourselves," he asks.
I was intrigued by a painting depicting coffins. Sarath's explanation
was that the way we are going, very soon reconditioned coffins would be
big business!
Everyone may not agree with some of Sarath's interpretation of certain
religious messages. What he wants to impress is that we should take the
best from what the religious teachers have taught and try to lead a good
life. "Respect your religion, at the same time look at what others
have said. See whether you can pick up something useful."
Sarath sees the introduction of tea as having created a big problem.
He highlights the problem in one painting which shows the British bringing
the tea, closely followed by Indian labour. A couple in Kandyan garb look
on.
He hasn't spared the politician who waits for 'pooja' from the ordinary
people. His question is: Being a small, poor country, can we afford to
spend lavishly? "It is the artist's responsibility to highlight social
issues and focus attention on what goes around him," he says.
He tackles several other issues from the farmer's fate to censorship.
This is Sarath's 35th one-man exhibition. In addition to the black and
white drawings, he will exhibit oil paintings on canvas and some beautiful
ones done with coloured pencils.
Dharmasiri
does it again
Awards are nothing new to versatile dramatist Dharmasiri Bandaranayake.
Almost every time he produced a play, he was sure of bagging a couple of
awards. In 1976, 'Eka Adhipati' won the first place at the State Drama
Festival. 'Makarakshaya' was Best Production and Best Play (Translations)
in 1986. 'Yakshagamanaya' was the Best Production in 1995. And now it's
'Trojan Kanthawo'.
'The Trojan Women', one of the 17 tragedies written by Greek dramatist
Euripedes (484-406 B.C) was first performed in Athens in 415 B.C. It was
one of his plays where women were the central characters, usually involved
in extreme situations. Dharmasiri's production (by the same name) was voted
the Best Play 1999 at the State Drama Evaluation (they felt shy to call
it 'Festival' this year because the country is on a war footing and festivals
are taboo!) recently. He was also awarded the prize for Best Director.
He had designed the costumes and stage decor for the play. They were the
best too.
There were more awards. Jerome de Silva, better known in English theatre
circles handled the choreography. He was rewarded for his effort with the
award for best choreography. Nimal Bulath-sinhala's lighting brought him
an award and Ranga Bandaranayake, got the award for stage management. The
best supporting actor and actress awards were won by Jayasiri Chandrajith
and Yasodha Wimaladharma respectively.
This is Dharmasiri's fifth major production. He has been active since
1974 when he produced 'Chulodara Mahodara' written by school mate Hemasiri
Liyanage.
He made his mark on the stage with 'Eka Adhipati' (1976) and nearly
ten years later his 'Makarakshaya' (translation of 'The Dragon') became
the talk of the town. 'Dhawala Bheeshana' produced in 1988 was a translation
of Jean Paul Sartre's 'Men without Shadows' . He continued his interest
in translations with 'Yakshagamanaya' (1994), Bertolt Brecht's 'The Resistible
Rise of Arturo Ui', a play written in 1941.
Difficult choice
The best actor, Janaka Kumbukage (often seen in teledramas) came from Sunil
Chandrasiri's play, 'Bheema Bhumi'. The best actress, Duleeka Marapana
was from Bandula Jayawardena's 'Swarnamali'. The award for best translation
went to S. Karunaratne for 'Bansi Merila Ne'. K B Herath won the award
for best original script ('Vasudeva'). The award for the best music score
was won by Tarupati Munasinghe for his creation in Thumindu Dodamtenna's
'Arundathie'.
Suvineetha Perera shared the award for best costumes for her effort
in 'Vasudeva' while Dayadeva Edirisinghe ('Swarnamalee') shared the award
for best supporting actor.
Serving on the panel of judges for the final round were Dr. Michael
Fernando, Professor Walter Marasinghe, Chandrasena Dassanayake, Sugath
Watagedera, Dr. Luxmie de Silva, Sumitra Rahubaddha, Gamini Sumanasekera,
Somaratne Dissanayake and Tillekeratne Kuruvita Ban-dara.
Amaradeva Trust
The Pandith Amara-deva Trust Fund is being inaugurated on Saturday,
August 5. To mark the occasion the Old Anandians Sports Club is organising
'Amara Uvasara', a festival of music by maestro Amaradeva at the BMICH.
Amaradeva who is currently touring the United States and Canada is due
back at the end of the month. Meanwhile, the final touches are being added
to the formation of the Trust.
While several private and public sector institutions have already contributed
towards the Trust Fund, the organisers expect many more to join. Those
interested will be able to hand over cheques to the maestro himself on
the day the Fund is launched. The Trust will award a scholarship to a talented
young musician to proceed to India for higher studies.
It will be recalled that it was on the initiative of the then editor
of the Lankadeepa, D B Dhanapala and Professor Ediriweera Sarchchandra
that public funds were collected for the maestro to proceed to Bhatkande
University in Lucknow.
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