DRAMA
Review
Nari Bena samaga Jasaya saha Lenchina:
Life lessons about honour and duty
by Dilshan Boange
The late Dayananda Gunawardena is a dramatist who has contributed
much to the stage drama and theatre culture of modern Sri Lanka by
giving folklore a theatre form with performance stylistics that reflect
much of the traditional Sinhala elements of 'folk drama'.
This
was much in evidence in the production of Nari Bena samaga Jasaya saha
Lenchina written by the late Dayananda Gunawardena, which went on boards
at the Lionel Wendt auditorium last month. This production was a
performance of a duo of plays that have as their base, Sinhala folklore
and the element of song, to characterise story content and narrative
form.
Musicals aren't new to traditional Sinhala drama. But one of the
striking elements that can be seen through these two works by
Gunawardena is dialogue along with song, dance and rhythmic movement
that portray regular actions, giving life to a picture that is very much
outside the mould of the 'theatre of realism', popularised by the works
of the likes of Anton Chekov and Henrik Ibsen, while being endowed with
a dose of socio-political critique that is nevertheless visible and
projected entertainingly. Nari Bena as many Sri Lankans may know is
based on the old folktale of how a villager was compelled to give his
daughter in marriage to a fox. Jasaya saha Lenchina is a traditional
folk drama that depicts the socio-political milieu of traditional
Sinhala society during monarchical and feudal rule through a domestic
spat between a washerman and his wife in the context of being called to
perform traditional duties of State. This drama unlike Nari Bena has a
chorus of singers to narrate parts of the story along with the actors
who carry the story forward through both dialogue and song.
The manner in which social hierarchy and the faithfulness to
performing one's duty in traditional society comes out most strongly in
a scene where the resolution to the dispute is 'embraced' to ensure the
successful completion of assigned duties. The feuding between the
husband and wife stops when they realise they will fail in their duties
to the king if they don't stop their bickering and set about the task
given to them. The story thus shows how much reverence was given to ones
'rajakariya' (duty owed to the liege/master/employer), which gains
priority above their own personal issues.
Between Nari Bena and Jasaya saha Lenchina the play more attuned to
contemporary entertainment from a point of storyline and plot, is the
former. What is at the core of this play's story is a facet of how the
traditional Sinhala villager displayed the mettle of his character. The
severity and seriousness of an utterance, the honour of keeping one's
word, given even in jest, is shown as a feature that epitomises the
sense of integrity of the traditional villager. What constitutes as 'honour'
and a clear conscience from traditionalist outlooks in rural Sri Lanka
is brought out in this play emphatically. And interestingly, it is the
need for adherence to tradition that finally provides a 'salvation
clause' for the daughter given away in marriage to the fox.
The 'dowry' in the form of the household guard dog -'Dadoriya' is
what ensures the bride is returned to her parents and relinquished from
marriage by the fox. The usefulness of the 'dowry clause' thus proves
effective in a rather crafty way.
What is important to note about these kinds of stage plays is that
they offer an experience of theatre with glimpses of traditional
colloquy and dialect as well as social structures, giving the viewer an
idea of what 'folk drama' is meant to offer its audience from a point of
a cultural experience as well as entertainment within the framework of
proscenium theatre. |