[Arts]

Review:

The human aspect of the long drawn out divergence

By Indeewara THILAKARATHNE and Ranga CHANDRARATHNE

The stage play by G.D.L Perera recently staged at Punchi theatre, Borella after 45 years from its maiden production in 1964. The story takes place against the background of 1958 communal rights. The central conflict of the play is around a ferryman (Thotiya) and his family although the real conflict of the play is the intensifying tension and mistrust between the principle ethnicities in the country. The son of the ferryman, a soldier, has gone out to the conflict area and subsequently reported to be killed in action by a Tamil doctor.

On being heard of her husband's death, the pregnant wife of the soldier, daughter-in-law of the Ferryman faces a premature delivery during the curfew clamped down following the riots. In a twist of fate, the same doctor while fleeing for life saves the child and the mother.

The ferryman, who is a racist, represents generation of the blind racists who firmly believe that each and every Tamil infant should be strangled to death, has , ultimately come to terms with the reality when he was compelled to seek Tamil doctor's assistant in saving the lives of his daughter-in-law and grand son.

The crust of the play is to drive home the folly of intransigent archetype beliefs and misconception on a certain segment of the population represented by ferryman. At the commencement, the scenes unfold in a slow motion yet the play quickly assumes the tempo appropriate for exploring deep philosophical ideas.

Right and wrong

It is rarely that the conflict between right and wrong is depicted in a play. However, G.D.L Perera achieved this through the character of ferryman.

Ferryman is a prototype character in a village whose outlook of life in general and perception of minorities in particular is determined by archetype misconception on minorities which were shaped by misinterpretation of legends such as the story of Dutugamunu and Elara.

The plot is simple yet has also the ingredients for the playwright to drive home the idea. The ferryman (Thotiya) not only represents prototype mind set of a certain segment of the population but also the social strata of these men and women. Ultimately the ferryman becomes a victim this conflict between right and wrong. The dramatist's ability to retain the conflict throughout the drama, contributed to the success of the play. At the end, the ferryman realises the folly of his biases and universal nature of humanity.

The drama stands out for its excellent sets which are a rare site in contemporary Sinhala theatre. The roles of the middle-aged woman and the ferryman have been portrayed realistically. Although, at some instances,

particularly the moral dilemma the ferryman confronts when he realises that the same doctor who killed his son, has, now, saved the lives of his daughter -in-law and his grand son, is somewhat synthetic.

Though it was first produced in 1964, Thotupola is still relevant to Sri Lankan society. The play is set against the backdrop of communal riots of 1958. At the time, G.D.L Perera's voice would have been a lonely cry in the wilderness of roaring flames of racial intolerance.

Racial intolerance is not an uncommon phenomenon in Sri Lankan polity. Some of the Sinhalese still, seem to entertain subconsciously the idea that Tamils had destroyed Sinhalese culture. Though the artistic abilities of Tamil artist are depicted in stone carvings in Anuradhapura and Polonnaruwa, the chronicles state that Tamils were invaders. It was a bold initiative when G.D.L Perera decided to produce 'Thotupola' (The Jetty) at the time country was enveloped in racial intolerance. The drama strikes the note that at time of distress, what matters is not one's racial or ethnic origin but the kindred spirit of humanity. Thotupola was, produced, for the first time, in 1964. The original cast included Denawaka Hamine (Marihami), Gamini Wijesooriya (Dingi Appu), Linony Weerasinghe (Premawathi), Buddhi Wickrama (Sapin), M.D. Amerasinghe (mail deliverer), and Felix Premawardena (Doctor).

G.D.L Perera states that the idea which subsequently developed into the drama, was conceived when he befriended with Tangavelu in Jaffna. He was also influenced by the communal riots erupted in 1958.

The cast for the preset production include Suranga Chamil Ratnayake (Dingi Appu), Malki Dilesha Silva (Premavatie), Kalum Taranga Gunawardena (Saping), Ayesha Madushani Udukubura (Marihamie), Raj Abeyratne (letter-deliverer),

Channa Udayanda Ganegoda (Doctor).Although the actors and actresses were introduced as amateur actors and actresses of the Meda Dumbara Kalaagaaraya, their portrayal of characters showed no immatureness. Instead it was, perhaps, most natural depiction of characters. The scene where the ferryman drops his gun into the river has not evoked the tensed emotions demanded by the scene. Despite that weakness,the character of ferryman was well portrayed.

The cast excelled, in general, in their portrayal of characters and the characters of midwife, soldier's wife have been outstanding in their natural depiction and apt delivery of dialogues. G.D.L. Perera and his team of production should be commented for staging the play again at a time it is extremely relevant to Sri Lanka. The insightful play concluded with highlighting the human aspect of the conflict which definitely is the genesis of it. The dramatist has used classical music scores for the play. The selection and laying of the music scores were perfect and matched with the tempo of the story.

GDL Perera, the well known film and drama producer is back to his first love

again. His organization, Kalapela, which he formed over fifty years ago with a handful of friends, started with producing stage plays. Their first play was "Kandulu" (Tears) staged at the YMBA Borella in November, 1956. Since then, they have staged more than 12 stage plays and four feature films. All these plays and films were written and directed by GDL. The most popular among these were the stage productions Same, Sakkarawattang, Mehev Lokeka and Thotupola. The film version of his very first ' stage production "Saama" broke new grounds in the local film production scene and was selected by the organizers of the Commonwealth Film Festival to represent Sri Lanka at its Film Festival held in Cardiff, England, in 1965. He was the second Sri Lankan to have the first Feature film selected for an International Film Festival.

The first was Lester James Peiris. In 1968, he beat Lester to pick up the Best Direction Award for his second feature "Dahasak Sithuvili" at the Sarasaviya Film Festival. His award-wining stage productions, "Mehev Lokeka" and "Thotupola". Together with (Late) Sugathapala de Silva's

"Bordingkaarayo" and "Thattu Geval" pioneered the come back of the 'realistic' drama on the stage. Thotupola, won the Best Production Award at the Annual Drama Festival organized by the Art S Council of Ceylon in 1964. G.D.L Perera's re-emerges on the stage with Thotupola with an entirely new cast, students of his Kandy based Arts Institute Kalaagaaraya.

G.D.L introduced number of actors and actresses to Sri Lankan theatre including Vijaya Kumaratunga, Dhamma Jagoda, Nilanthi Wijesingha, Douglas Ranasinghe, Chandra Kaluaraehchi, and Sandun Wijesiri.

Yugayaka Gee

For the first time on the Sri Lankan stage a concert to felicitate two generations of musicians by a member of the third generation herself a singer Supriya Abeysekera. The concert `Yugayaka Gee' will be held on June 20 at the BMICH 6.30 p.m. "This concert of mine is to felicitate my grandmother WasaSntha Sandanayake, a popular signer of the 1930s, my mother Daya Hemantha Abeysekera an also my father, actor Shanthi Abeysekera and my uncle Sarath Sandanayake. I will be singing my generations songs backed by "Dinesh and Friends" informs Supriya who is proud of the fact that her singing talent is natural and inherited. She has her own style in singing and can also perform in English, Hindi and Tamil.At the concert Supriya will sing duets with Kasun Kalhara and Amal Perera. Others who will be performing Supriya's sisters Sadhana Ranatunge, Sanjana and Tajani Ishara Abeysekera, her brothers Sanjay and Sundev and Supriya's husband Chalinda Hewage.

For the entertainment of the audience the dance choreography will be handled by Chandana Wickremasinghe's Dance Troupe. The show will be produced by Wasana Dantanarayana and R & V Entertainment.

Duo classique at sunset

by Mahes PERERA

"Duo classique at sunset" a concert by the two young musicians Clement Dufour - flute and Tristan Pfaff - piano was an interesting and refreshing presentation of classical music and a pleasant experience.

The concert was presented by L'Alliance Francaise de Colombo and the Galle Face Hotel was held recently with the support of the French Embassy in Sri Lanka and the Maldives and Culturesfrance. Flautist Clement Dufour just 22 years has received numerous awards since 2001. In 2005 he won the first prize of the prestigious 7th International Flute Competition Jean - Pierre Rampal in Paris and performs in many countries. Pianist Tristan Pfaff 24 years old won the first prize and the special prize at the sixth International Piano Competition of Arcachon in 2003, has participated in many festivals and won the second prize and special prize at the 12th International competition of Porto. The programme for the concert comprised the lighter works of Schubert, Faure' and a selection of compositions that reflected the Argentinian tango. The opening Standchen (Serenade) by Schubert was emotionally expressed by Clement Dufour on flute and set the mood for the compositions to follow.

The duo's next selection Variations on Trockne Blumen displayed their skill and interpretation of the different moods of the piece. It was unfortunate that some in the audience indulged in clapping in between the variations. The L'histoire du Tango - Bordel 1900, Cafe' 1930 and the accompanying pieces were a pleasant eye opener to the audience while the duo enjoyed themselves in playing the pieces.

Flautist, pianist Surekha Amerasinghe commented after the concert that "I liked the concert. The flautist was well controlled in his playing and he played by memory. The pianist was equally proficient. The Variations by Schubert is technically demanding and the duo fulfilled that requirement. Trockne Blumen (Dry Flowers) is based on a poem and the piece was interestingly interpreted. A flute repertoire covers different scales, modes and colours and the interpretation is different here in Sri Lanka. Programme notes at the concert would have been helpful."

Sharmini Wettimuny, Chairperson of the Sri Lanka Symphony Orchestra said that "the choice of music for the concert was good. I loved the music the duo played. The flautist played with a lot of feeling and I enjoyed myself at the concert."

Public talk at Punchi theatre

Prof. Wimal Dissanayake will deliver a lecture on Kavi Base Nava Pravanatha (New trends in the language of poetry) on June 18, at 4.00 p.m. at Punchi theatre in Borella. The public talks will be followed by a poetry reading. Prof. Dissanayake will read out poems penned by him.
(IT)