Drama review :

A modern allegory with traditionalistic forms

by Dilshan Boange

"How will I know if it works truly sir?" asked the nincompoop newly empowered with the power to ward off death. "Experience it," answered the embodiment of Death dubbed 'Vasavaththi Mara'. That simple dialogical inquest provides the spinal basis on which the premise of knowledge as an 'ontological state of being within an individual' and knowledge as an 'abstract statement' can be differentiated. There lies the principle divide between knowledge as a 'creation' of the occidental mind and knowledge as a part of an 'individual's consciousness' as per oriental or eastern thought.

And as I sat in the Asoka College gymnasium in early October, on the opening night, to watch actor, playwright and director Indika Ferdinando's latest creation -'The Irresistible Rise of Mr. Signno (or the Metamorphosis of Death by Unnatural Causes)' there was evidence to the sense faculties that what was planned and performed as 'a ritualistic parable' was meant to transcend the conventional theatre 'experience'.

A young buffoon named Signno who possesses no worthy skill or talent or even minimal competence at basic arithmetic decides to end his life in the hope of getting a 'better life next time'. He fails miserably. The circumstances of fate don't seem to support his decision.

This decision to 'prematurely' end his life is seen as an attempt to cause 'death by unnatural causes'. Thus the story speaks in line with Buddhist thought and belief that no one actually dies before his/her time. Therefore 'Death' in the form of Vasavaththi Mara visits Signno and bestows him a reason to live. He gives him the power to ward off death and prolong the life of the dying.

And all that is needed to perform this miracle is a handful of mustard seeds.

This particular element in the work is ripe with what any Buddhist or even non Buddhist to a certain extent in Sri Lanka will immediately identify as sourced in Buddhist literature -the story of Kisagothami, who pleaded to the Buddha to bring her dead child back to life.

Metamorphosis

Making a pact with the Devil is nothing new when looking at folklore in other countries. But what is interesting is that Signno is not like another Faustus. What transpires as the finale is that Signno enters the stage as a metamorphosis proving that he even outwitted Death.

Signno as a protagonist who prevails at his ambitions beats Faustus hollow.

And thus perhaps this character Signno carries a certain pulse in keeping with popular perceptions nowadays -yes, 'only a Sri Lankan' could have done something like that!

Scenting the air with burning incense, spraying overhead substances that injected into the air smells of disinfectants, perfumes and at one point a likeness of cinnamon was central in this theatre experience.

The hospital scene was noticeably complemented with the smell of pine scented disinfectant up my nose. One of the reservations I have on the unconventional methods of engendering a multisensory theatre experience is with regard to how mustard seeds were cast overhead whenever Signno performed his miracle.

I say this due to the inconvenience mustard seeds cause getting into one's hair and also since at one point a few seeds nearly got in my left eye. It did in that sense create a distractive botheration.

This work was undeniably presented 'hybridisation' of eastern and western elements.

The medium was English but the ritualistic facets and stylistics were very much Sri Lankan. At the point when Signno's bride sings the nursery song -'London Bridge is falling down' with the grandeur of traditional Sinhala drumming accompanying that scenario I wondered in what light can this fusion be treated -innovation or sacrilege? The answer perhaps, is both. Sometimes heretics of yesterday may be applauded as the futurists of tomorrow.

Hypothesis

At one point the devil called 'Salu Paaliya' suffers from memory loss and fails to recognise the Narrator.

The latter then asks the former if he doesn't 'known' him or if he can't 'remember' him? There lies in that juncture another valuable hypothesis -knowledge being inextricably bound to memory.

If memory can be controlled and manipulated, or for that matter even 'engineered', so can knowledge. And power is after all, all about controlling the living. And let's not forget knowledge is crucial to all games of power.

It is interesting to note Signno secures his destiny after he gets Vasavaththi Mara intoxicated on the sweetness of human tears of joy. Was it a metaphor for liquor I wonder? If so then this work speaks of a facet of Sri Lanka's colonial past where arrack renting and tavern keeping marked the rise of the colonial bourgeoisie. It was the juncture where commoners began replacing the hereditary nobility as society's helmsmen.

One cannot help but recall the monumental work in this regard by Dr. Kumari Jayawardena, 'Nobodies to Somebodies'.

Perhaps Ferdinando created a social critique of the origins that have driven contemporary Sri Lankan socio-political landscape to what it is? While it is unsound for any reviewer to draw final conclusions on aspects which are very delicately nuanced and not stated outright, much I'm sure is allowed for conjecture.

Death

Ferdinando's conceptualisation of the character 'Death' warrants detailed discussion. The word/name 'Mara' occupies a manifold significance and multiple embodiments in Buddhist literature. 'Vasavaththi Mara' is generally stated to be a deity from the highest pleasure bound realm, the heavenly abode -'Paranimmita Vasavatti'. He asserts himself as the overlord of sensual pleasure, lust, and desire.

He is not necessarily the dealer of death to mortals. But however there may be overlapping colloquialisms between 'Vasavaththi Mara' and 'Maraya' a figurative embodiment of the phenomena of death for which the Sinhala word is 'maranaya'. In this regard I wish to offer some further elaboration on the variants of 'Mara' with reference to 'Treasure of the Dhamma' (1994) by Dr. K. Sri Dhammananda. In this work the author presents the following (in p.215) -'Maras' are personifications of various states. According to Buddhist literature there are five kinds of 'Maras', namely : 1) 'Devaputta Mara' - Deity, 2) 'Kilesa Mara' -Passion, 3) 'Abhisamkhara Mara' -'Kammic' (Karmic) Activities, 4) 'Khanda Mara '-Five Aggregates, and 5) 'Maccu Mara' -Death.

The only actual living entity deducible of these five is the deity. And in among the sutras discoursed by the Buddha himself that form the heart of the Pali canon the following sutras are significant with reference to 'Mara' as an actual living antagonist to the Buddha; the 'Mahaparinibbana Sutra': The Great Passing' in the 'Digha Nikaya' (Long Discourses) and 'Ariyapariyesana Sutra': The Noble Search', in the 'Majjhima Nikaya' (Middle Length Discourses). Ferdinando's 'Vasavaththi Mara' appears a character whose merits are a combination of both 'Vasavaththi Mara' and 'Maccu Mara'.

In the performance, 'Vasavaththi Mara's arrival to the beat of traditional drums bearing flaming torches with rhythmic movements was electrifying. Seasoned actor of the stage and screen, Saumya Liyanage, played the role spectacularly. And within close sight of where I sat was veteran actor Hemasiri Liyanage, whose face I could not help but observe was lit with ardour as he witnessed that moment his son performed a praiseworthy entry.

I would say overall the cast and crew that made this logistically onerous work come alive deserve a robust round of applause. As a performance this work was very much a successful in creating a multisensory experience. Evidently a costly affair by what was observed. But one does hope these forms of newness will begin to 'rise' irresistibly to the delight of theatregoers seeking newer experiences.