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4th April 1999

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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


Kala Korner -By Dee Cee

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.

Sugathapala de SilvaTwo 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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