The moon book lands the Gratiaen
The Gratiaen Award for creative writing in English, seemed to be staying
in the family this year, with Jean Thwaites, a Sri Lankan of Dutch origin
(or mixed descent) in the same mould as Michael Ondaatje himself, winning
the prize.
Ondaatje, who variously describes himself as a Burgher and of Dutch
descent, bestowed the Gratiaen award from the prize money he received as
co - winner of the prestigious Booker prize a few years back.
Jean Thwaites won the award for the manuscript Its a sunny day on the
Moon, and from all descriptions ( the manuscripts are not available for
reading ) the book is an almost racy account of life in a bygone era in
the Sri Lanka that Thwaites knew in her day.
The book was chosen from among four other shortlisted works by Premini
Amerasinghe, Ramya Geerasinghe, Tissa Devendra and Sithy Umma. The panel
of judges was headed by Tiru Kandiah, who said there were signs that Jean
Thwaites could make it to the international literary arena in the near
future, and also added that there was a deplorable lack of discipline in
some of the writing that was submitted for the awards.
The Chairman of the board of trustees Dr Godfrey Gunatilleke said that
it is the intention of the trustees to make it mandatory for all nominees
to publish their writing so that the "reading public will have access
to their work."
The awards ceremony itself was relatively low key this year , with the
regular cocktails courtesy the Gratiaen trustees, being replaced by a somewhat
strong variety of punch. All round, we are pulling our punches. RA
Sugathapala de Silva's early novels in print again
Sugathapala de Silva is best known as a
revolutionary dramatist. His contribution as a creative writer (quite apart
from his fine scripts for dramas) is not much talked about. Obviously because
once he took the stage by storm, everyone concentrated on his theatre work.
 Two
of Sugath's early novels have just come out as Sarasavi publications. One
is 'Asura Nikaya' first published in 1968 and the other 'Ikbiti
Siyalloma Satutin Jeevathvuha (1970).
The first print of 'Asura Nikaya' was sold out in less than a
month. But the second print has come out only after 30 years. Why? It's
an "unbelievable story," according to Sugath. He just couldn't
lay his hands on either a manuscript or a printed book. The last copy he
had was borrowed by an undergrad. He went home for the vacation and could
not be traced. Earlier, a film director had borrowed a copy. "We couldn't
agree on the terms. I lost not only the film but the script too,"
Sugath says. He got a photo copy from a friend which was lost by a printer.
Finally, on a tip off he wrote to a dramatist who, in two days came with
a copy.
Sugath says that if library copies are returned by borrowers, this sort
of thing will not happen. .
The reprints are well done with attractive covers and clear print on
quality paper.
Sugath's impressive record of creative work includes six novels, three
translations, five dramas, one anthology of poems and one children's drama.
He has also written two books which fall into the category of literary
work and two light reading material.
Impact of IT
Theatre has the strength to survive. This
was Cultural Ministry Secretary Ariyawansa Ranaweera's message to theatre
lovers who discussed this year's World Theatre Day theme - "Is it
necessary to run a living theatre these days of television videos, compact
discs and Internet"?
How to meet the challenge posed by modern technology and the alternate
channels of entertainment was the big question. Could the technological
marvels of television and video alter the fundamentals natural to theatre
that has held audiences from the days of the amphitheatre and open air
dramas to street theatre?
Writing to the Sinhala Drama Panel publication 'Rangamadala', Panel
chairman E.M.G. Edirisinghe says that all forms of entertainment that evolved
much later within an environment of technological inventions however exciting
and modernist, cannot match the stage drama which trails the earthly reality
of life and emotions. Its live presentation is life as it is which seeks
no means to magnify or simplify it. Its design to imitate and recreate
life is its substance and the element inalienable. It turns life inside
out and outside in, but does not substitute it.
Not many had turned up for the World Theatre Day seminar held at the
John de Silva Theatre on March 27. Mature faces were not there to listen
to two of the more exciting dramatists Dharmasiri Bandaranayake and Jayantha
Chandrasiri among a few others. It was encouraging, however, to see a fair
number of youngsters. Also significant was the active involvement of the
National Youth Services Council (NYSC) in this year's Theatre Day activities.
A workshop was held at the NYSC centre at Maharagama on the previous day.
Why no originals?
Not a single original drama is in the list
of six selected for the final round of the State Drama Festival. All are
adaptations.
The selected ones are a mixed bag based on dramas by American, English,
Greek, Indian and Chilean dramatists. E M.D. Upali's 'Eva Balava',
an adaptation of J.B. Priestley's 'An Inspector Calls'; Buddhika
Damayantha's 'Dawasa Thama Gevune Ne' based on Murray Shichigal's
'The Typist' ; Priyantha Siri Kumarage's 'Maranaya Saha Kanyaviya'
(adapted from Ariel Dorffman's "Death & the Maiden); Lalith
Sarachchandra's 'Ratnavali' (based on Harshadeva's 'Ratnavali');
Athula Peiris' 'Maha Oedipus' (Sophocles' 'Oedipus'); and
Rohana Samaradivakara's 'Acharasheeli Dadayamak' (Woody Allen's
'The Death') are the selected plays, out of 16 which were staged
in the second round.
Serving on the panel of judges were E.M.G. Edirisinghe, Professor Anura
Wickremasinghe, Dr. W.G. Kularatne, Chandrasena Dassanayake, Ranjith Liyanage,
Jaya Sri Chandrajith and Chandrasiri Bogamuwa.
33 plays in all entered this year's competition.
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