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![]() 9th August 1998 |
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Those dramatic daysA growing interest in Sinhala theatre is seen once again. More and more plays are being produced. Popular dramas are being re-presented. The theatregoer is offered a choice by many a new dramatist. Reading through the Life and Times of Professor Sarachchandra (Ping Athi Sarasavi Varmak Denne), one gets a clear picture of the development of modern Sinhala theatre over the past six decades. Professor Sarachchandra traces back the beginnings of modern Sinhala theatre to the University College days, in the early forties. The formation of the Sinhalese Society on the initiative of students who came from homes where Sinhala was spoken, paved the way for the introduction of Sinhala theatre. At the annual social of the society, a variety show was presented, which included an entertaining presentation by the students. The first was a series of episodes titled 'Back to the Land' written by L Piyasena and M J Perera. The theme was the ill effects of urbanisation and the need to get back to the village. The years that followed saw the presentation of adaptations of western drama. These included Moliere's 'Bourgeois Gentilhomme' (Mudalalige Peraliya) and 'Le Docteur Malgre Lui' (Ibe Veda), Oscar Wilde's 'The Importance of Being Earnest' (Hangi Hora), Anton Chekov's 'The Proposal' (Magul Prasthawa), 'The Bear' (Valahediya) and 'The Manager' (Manager). These were extremely popular with the audiences which included invitees. The use of the day to day language quite in contrast to the type of Sinhala used by dramatists at the time was one of the main reasons why they became popular. The audience preferred the language commonly used by everyone. 'Hangi Hora' was Professor Sarachchandra's first production. "I undertook this task not because I had the confidence that I could direct a play but due to the officials of the Sinhalese Society pestering me," he says. (He was then on the University staff). Earlier, while on the staff of the Sinhala Dictionary, he along with colleagues D. J. Wijeratne and A P Gunaratna, had adapted Gogol's 'The Marriage' (Kapuwa Kapothi) for direction by Professor Ludowyke. First produced in 1945, Kapuwa Kapothii, was an instant hit with the lead actor Richard Thenabadu turning out a scintillating performance. E C B Wijesinghe who had made a name for himself by acting in English drama, had to be given a transliterated script since he could not read Sinhala. (The same was done for Earle Gunawardena who played E C B's role in the second production). The performances of Damayanthi Dunuwille, J W E Amarasekera and Eileen Sarachchandra were also highly appreciated. His next attempt was the three Chekov plays - Magul Prasthawa, Valahediya and Manager. As interest began to grow, a separate society (Sinhala Natya Mandalaya) was formed by the University students to promote Sinhala theatre. Professor Sarachchandra was disappointed that the Sinhala press did not encourage the development of Sinhala theatre. "I have been thinking why this was so. One reason was possibly because the editors and sub editors were not conversant with appreciation of theatre or drama criticism. Because of this, there was jealousy and hatred towards those who were involved in theatre," he says. |
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