A deep study of Chinese theatre

Talking to Professor Tissa Kariyawasam the other day when he turned up to deliver the keynote address at the presentation of the Eagle Higher Education Scholarships, he confessed that his interest in drama is as keen as it was a few years ago though he has not been in the forefront, so to say. As if to prove the point, he gave me a copy of his latest publication, a treatise on Chinese theatre.

A few years ago, Tissa spent his sabbatical leave in Beijing as a specialist professor in the Chinese foreign education university. During the year he spent there, he did research on the Chinese theatre. 'Cheena Natya Ha Ranga Kalava' is the outcome of that research study. He also researched into Chinese Buddhism and wrote 'Cheena Bududahamata Pera Vadanak'.

Tissa found it quite a tough task to gather information on Chinese drama. In the biting cold in winter he spent hours in the Chinese National Library and the university library glancing through books written in Chinese on the subject.

The book is of immense value to the student of theatre most of whom identify Chinese theatre with just the Beijing opera. But it is not so. Tissa found close upon 300 forms of drama scattered throughout the country.

While discussing the history and development of the Beijing opera, he touches on the numerous provincial drama forms as well, in his book. He sees a lot of similarities between our nadagam and Chinese theatre.

Prasanna in London and Amiens

Young filmmaker Prasanna Vithanage is again in the news. While we wait for the release of his award winning creation, 'Purahanda Kaluwara', the film will make its appearance at the prestigious London Film Festival next week. This is a rare honour for a Sinhala film.

Meanwhile, the Amiens International Film Festival has, for the second year running, chosen a film of his for exhibition. That's where his 'Pavuru Valalu' collected three major awards last year. Prasanna will be at both festivals.

A co-production with NHK Japan, 'Purahanda Kaluvara' brought honour to Sri Lanka when Joe Abeywickrema who plays the lead role of blind Wannihamy was chosen the best actor at the 1999 Singapore International Film Festival. The film was also winner of the International Film Critics Federation Award at this year's Fribourg Festival.

The film is being sent to London under the auspices of Sri Lanka's Asian Film Centre, which is doing a silent service in promoting Sinhala films abroad. It will be screened on November 13 and 15 at the National Film Theatre, the main festival venue on the South Bank.

Dramatic move from one role to another

A five-day Jayalath Manoratne drama festival held at the John de Silva Theatre ends today. Titled 'Samaropa', it opened with 'Putra Samagama,' followed by 'Talamala Pipila,' 'Andarela,' and, 'Guru Tharuwa.'

Published below are some observations of his latest creation, 'Sandagira'.

Jayalath Manoratne once again proves his versatility as an actor in his own production, Sandagira changing from one character to another in a matter of minutes and playing each one so convincingly. Starting as the Gurunnanse in Sokari, he plays the sombre role of Christ in an extract from a Passion Play and soon moves over to entertain the audience as Sellanlama in a Nadagama. He appears again as Bammanna in the Nurti tradition followed by a totally different role in a Minerva dialogue play taking the role of the elder brother in Kapati Arakshakaya. He caps it all as Rajaguru in Maname, a scene which always brings memories of dear old Edmund Wijesinghe in the original play.

It is no easy task for Jayalath but he handles the varying roles with ease and confidence convincing the audience that he remains one of the most disciplined actors capable of fitting into any role.

Sandagira is different from other dramas in that it falls into the category of documentary dramas and traces the evolution of Sinhala theatre over the ages. It traces the history of Sinhala drama in a nutshell with a narrator explaining the details in chronological order. The narrations tend to drag at times, as do some of the episodes. They can easily be edited to make Sandagira a more coherent production. (Possibly he has already done it - I saw the first performance a few months back).

Following each narration, Sandagira moves on to present an extract from the relevant form of theatre. Starting with Kolam it moves on to Sokari providing a highly entertaining piece. Sokari is a story enacted in the form of mime with most of the actors wearing masks. It is essentially a Kandyan form of folk dance. Episodes from Kavi Nadagam, Pasku and Nadagam are followed by the Nurti, Minerva form and the University drama. When the lively drum beats and the dialogue drama begins, the impact of the docu-drama is weakened but it cannot be helped because the sequence has to be maintained. Episodes of both Kapati Arakshakaya (Minerva tradition) and Rahas Komasaris (University drama) tend to tire the audience. They need tighter editing. The final sequence from Maname, however, helps to revive the play and is a fitting end to the docu-drama.

Sandagira has a cast of 18 with most of them acting in groups. Narrator Ajith Lokuge does a good job.

Ranat

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