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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