A dissent voice from the South

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(Dharmasiri Bandaranayake: Drama & Film Director, Script writer and Producer) ,yq;
ifapd; fSj;Jiw khtl;lj;jpy; Nttpw;w vd;w ,lj;jpy; 06.10.1949,y; gpwe;jhh;. ,tuJ
FLk;gg; ngaH ePyg;ngUkhs; (Kalukapuge).

,th; jhNd vOjp ,af;fpa Kjy; ehlfkhd ‘Vfhjpgjp’ 1976,ypUe;J ,d;W tiu 1400
,w;Fk; Nkw;gl;l jlitfs; NkilNaw;wg;gl;Ls;sJ. gpwnkhopapy; mike;j ehl
fq;fspd; rpq;fs tbtj;jpid mNdf jlitfs; NkilNaw;wpaNjhL> Njrpa ehlf
tpohtpy; rpwe;j ehlf ,af;Feh; cl;glg; gy tpUJfisg; ngw;Ws;shH. ,Wjpahf
ntspte;j ,tuJ jpiug;glkhd ‘gtJf;f’> ngsj;j ehL vd;W nrhy;yg;gLfpd;w
,yq;ifapy; eilngw;WtUk; td;Kiwfs; - Aj;jk; Fwpj;J> midj;JNk tpjpg;gb
vd;w ngsj;j rpj;jhe;jj;jpd;kJ
P Nfs;tpia vOg;gpapUe;jJ.

A9 neLQ;rhiy jpwf;fg;gl;lijj; njhlh;eJ ; aho;gg

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Nfhzkiy Mfpa khtl;lq;fSf;F tp[ak; nra;J ,Jtiu ehd;F rpq;fsj; jpiug;gl
tpohf;fis ez;gh;fspd; cjtpAld; elhj;jpAs;sJld;> mq;F rpq;fs ehlfq;fis
Ak; NkilNaw;wpAs;shh;. tl-fpof;F fiyQh;fis> kf;fisr; re;jpj;Jj; jkpoh;fspd;
ghuk;ghpaf; fiyfshd ehl;Lf;$j;J> tpy;Yg;ghl;L> fpuhkpa-ehl;Lg; ghly;fs;> ,ir>
eldk; ,tw;iwg; ghh;itapl;Lk; Nfl;Lk; tpag;gile;J> tlNkhb> njd;Nkhb ehl;Lf;$j;
jpy; ehlfj;jpw;Fhpa kpfTk; tYthd $Wfs; (strong theatrical elements) ,Ug;gijAk;>
ehl;lhh; ,irapYk; eldj;jpYk; tYkpf;f ehlfj;jpw;Fhpa cUtq;fs; (strong theatrical
images) ,Ug;gijAk; ,dk; fz;L mtw;iw tPbNah nra;a Muk;gpj;jhh;. Nguhrphpah;
nksdFUtpd; ,uhtNzrd; ehl;Lf;$j;ijAk;> tl;Lf;Nfhl;il ehl;Lf;$j;jhd jh;k
Aj;jj;ijAk; tptuzg;glkhf;fp> Mq;fpy cgjiyg;Gf;fSld; dvd tbtpy; Mtzg;
gLj;jpj; jkpoh;fs; nra;jpUf;fNtz;ba XH mUk;gzpia Mw;wpAs;shh;.

jh;krpwp ,e;jpahtpy; eilngw;w ,uhkhaz ehl;Lf;$j;Jj; jpUtpohtpw;Fr; nrd;W ghh;

itapl;Ls;sJld; Nfush> jkpo;ehL nrd;W fiyQh;fSld; ciuahb mq;Fs;s
$j;Jtiffisg; gw;wp mwpe;jjd; thapyhf> fjfspiaAk; rpq;fs eldj;ijAk;
,izj;J ,uhkazj;ij rpq;fs nkhopapy; jahhpj;Js;shh;.

rpq;fs eldtifapYk;> ,e;jpahtpy; cs;s eldtifapYk; fhzg;gLk; xj;j jd;ik

fis ,izj;J Mrpahtpw;Fhpa ghuk;ghpaj;ijf;nfhz;l fiyg; gilg;ig cU
thf;Fk; Kaw;rpapy; <Lgl;Ls;s jh;krpwpAldhd ,e;Neh;fhzy;> ,tuhy; Enf nfhil
apy; mikf;fg;gl;Ls;s fiyQh;fspd; ghriwahd TrikonE ARTS CENTRE ,y;
26.07.2006 md;W xypg;gjpT nra;ag;gl;lJ. rpq;fsj;jpypUe;J Mq;fpyj;jpw;F cld;
nkhopngah;jj; th; JAKE OORLOFF

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jh;krpwp gz;lhuehaf;fTldhd
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gh. Jthufd;
fiy kPjhd <LghL Vw;glf; fhuzkhf ,Ue;j
#oiy vt;thW epidT$h;tHP fs;?
Mk;> mJ 1956 fhyg; gFjp. vdf;F VO tajp
Uf;Fk;. vdJ je;ijahH gioa kzpf;$Lfisj;
jpUj;Jgtuhf ,Ue;jhH. vdJ mg;ghtpd; mg;gh
xU eldf; fiyQH. mtH njd; gFjpapy;
njhapy; vd;W nrhy;yg;gLk; eld mspf;iffisr;
nra;J te;jhH. mtiu fg;Gkhj;jhah vd miog;
ghHfs;. tp\;Z NfhtpYf;Fj; jd;id mHg;gzpj;jp
Ue;jhH.
vdJ mg;ghtpd; ghl;ldhHjhd; vdf;Fs; fiy
kPjhd <Lghl;bw;fhd ghijiaj; jpwe;J tpl;ltH.
mk;kh tPlb
; y; ,Ue;jh. caHju tFg;gpy; gbf;fpd;
wNghJ> fiyg; ghlq;fs; Clhf fiy vd;Ds;
Eioe;jJ vd;W nrhy;yyhk;. ghlrhiyapy;
rpq;fs ,yf;fpak;> ehlfk;> rpWfij Nghd;wtw;iw
Ma;T nra;tjw;F jdpahd XH miw ,Ue;jJ.
mq;fpUe;J gy tplaq;fisf; fw;Wf;nfhz;Nld;.
mit vd;Ds; jpUg;gj;ij Vw;gLj;jpd.
,d;ndhUGwk; 1971,y; eilngw;w fpsHr;rp.
vdf;F mg;NghJ ,UgJ taJ ,Uf;Fk;. ehd;
caHjug; ghPli; rf;Fj; jahuhfpf;nfhz;bUe;Njd;.
fpsHr;rpfs; eilngw;w ,lq;fs;> rk;gtq;fs; gpd;
ehspy; vdJ fiyg; gilg;GfspDs; gpujpgypj;
jd. 1950fs; kw;Wk; 60fspy; fiyQHfs; vt;thW
gy;NtW fhuzpfshy; jpir jpUg;gg;gl;lhHfNsh>
mt;thNw 1971 fpsHr;rp fiyQHfspy; ghjpg;gpid
Vw;gLj;jpaJ. murpay; fiyg;gilg;Gf;fspy; nry;
thf;Fr; nrYj;jpaJ.
,f;fpsHr;rpf;Fg; gpd;dH xU ehlf ebfdhfg;
gq;Nfw;fj; njhlq;fpNdd;. cz;ikapy; ghl
rhiyf; fhyj;jpNyNa Nkil ehlfq;fspy; ebf;f
Muk;gpj;Njd;. ,JNt vdJ gpd;dzp vd;W
nrhy;yyhk;.
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jpiug;gl ebfdhfNt vdJ Muk;g ehl;fs; ,Ue;
jd. Kjypy; gq;Nfw;w ehlfk; ghlrhiy Kd;w
ypy; 1967,y; NkilNaw;wg;gl;lJ. mf;fhyj;jpd;
gpujpgypg;ghf mJ murpay; fUj;jpid nfhz;b
Ue;jJ. ,yq;iff;F [dehafKiw nfhz;L
tug;gLfpd;wJ. [dehafk; MdJ ,yq;iff;F
nts;is ahidapd; tbtj;jpNyNa nfhz;L
tug;gl;ljhf ,e;ehlfj;jpd; fU mike;jpUe;jJ.
ghlrhiyapy; gbj;Jf;nfhz;bUe;j fhyj;jpNyNa
rpdpkhtpy; ebf;fTk; Muk;gpj;jpUe;Njd;. jahde;j
FztHj;jdtpd; gf;kfhjPNf (Bakmahadeege)
vd;w jpiug;glj; jpy; ebf;Fk; tha;gG; f; fpl;baJ.
,f;fhyg;gFjpapy; gy;NtW ehlfq;fspYk; gq;F
gw;wpNdd;.
71 fpsHr;rpf;Fg; gpd; ghlrhiyapy; ,Ue;J tpyfp
,wg;gH fl;Lg;ghl;Lj; jpizf;fsj;jpy; (Rubber
Control Department) xU fpshh;f;fhf Ntiyf;
Fr; NrHe;Njd;. mf;fhyg;gFjpapy; jahde;j Fz
tHj;jd> n`d;wp [aNrd kw;Wk; Rfjjhr j
rpy;th Nghd;w fiyQHfs;> ebg;gjpYk;> jpiug;gl
,af;fj;jpYk; Kd;dzpapy; jpfo;e;jhHfs;. ,tH
fspd; njhlHig mLj;J> vdJ jpwikfis
NkYk; tsHj;Jf;nfhs;s Kbe;jJ.
,wg;gH fl;Lg;ghl;Lj; jpizf;fsj;jpy; Ntiy
nra;Ak;NghJ KjyhtJ ehlfkhd Vfhjpgjp
(Eka adhipathi)ia vOjpapUe;Njd;. 1976,y;
eilngw;w Njrpa ehlfg; Nghl;bapy; ,J rpwe;j
ehlfj;jpw;fhd ghprpid ntd;wJld;> rpwe;j ebf
Uf;fhd ghpirAk; NtW gy tpUJfisAk; ngw;
wJ. njhlHe;J gy ehlfq;fis vOjp Nkil
Naw;wpNdd;.
vdJ KjyhtJ jpiug;glkhd `d;rtpyf;
(Hansavilak) 1979,y; jpiug;glkhf;fg;gl;lJ. mg;
NghJk; ehd; ,wg;gH fl;Lg;ghl;Lj; jpizf;f
sj;jpy; Ntiy nra;J te;Njd;. mj; jpiug;g
lj;ij n[Hkdpapy; eilngw;w jpiug;gl tpoh
tpw;F mDg;g Kbe;jJ.
,wg;gH fl;Lg;ghl;Lj; jpizf;fsj;jpy; ,Ue;J
tpyfp Reclamation Board ,y; NrHe;Njd;. mjd;
gpd; Jq;ntdpahka (Thunveniyama) vd;w jpiug;
glj;ij ,af;fpNdd;. ,j;jpiug;glk; ,yq;ifj;
jpiug;glf; $l;Lj;jhgdj;jpdhy; “A” fpNul; jpiug;
glkhf jug;gLj;jg;gl;lJ. mjdhy; mj;jpiug;
glj;ij jahhpg;gjw;fhd epjpAjtpia ,yFtpy;
ngwKbe;jJ.
Jq;ntdpahikaitj; njhlHe;J Dream of the
Desert vd;w FWe;jpiug;glj;jij jahhpg;gjpy;
<Lgl;bUe;Njd;. mjd; rpwg;gk;rk; ahnjdpy; glg;
gpbg;Gf;fhf aho;gg
; hzk; nrd;wikNa. mJ 1981
fhyg;gFjp. tlgFjpf;fhd vdJ KjyhtJ
tp[ak;. ehk; gUj;jpj;Jiwapy; kzy;fhL vd;w
,lj;jpy; glg;gpbg;gpy; <Lgl;bUe;Njhk;. Mr;rphpag;
glj;jf;f tifapy; mj;jpiug; gpujp (negative)
fhzhky; NghapUe;jJ. mJ xU kHkkhfNt
,Ue;jJ.
RjpyhNf fjht (Suddilage Kathawa) (Rjpyhtpd;
fij) vdJ mLj;j jpiug;glk;. 1983,y; irkd;
etuj;Njfktpd; ehty; xd;iw mbg;gilahff;
nfhz;lJ. mJ XusT gpugykhd ehty;. 1985,y;
eilngw;w Njrpa jpiug;gl tpohtpy; mj;jp
iug;glk; rpwe;j ,af;FeH> rpwe;j ebfH> rpwe;j
ebiff;fhd Njrpa tpUJfisg; ngw;wJ.
mjd; gpd;dH ehlfq;fspy; ftdk; nrYj;j
Muk;gpj;Njd;. The Dragon - ,J Nrhtpaj; ehlf
MrphpaH N[hntdp \;thHl;]; (Yevgeni Shavarts)
,d; gilg;G. mjid 1985,y; rpq;fs nkhopapy;
NkilNaw;wpNdd;.
1987,y; gpuQ;R ehlf MrphpaH N]hd; Nghy;
rhj;jhpd; (Jean Paul Satre) Men without ShadowsI
lty gP\d ( Dhawala Bheesana) vd;w ngahpy;
jahhpj;Njd;. ,e;ehlfk; mt;thz;L rpwe;j ehlfk;>
rpwe;j newpahsUf;fhd tpUJfis ntd;wJ.
gpd;dH 1992,y; gtJf;f vd;w jpiug;glj;ij
vLf;f Muk;gpj;Njd;. vdJ je;ijtop cwtpduhd
Nf.v];.ngNuuh vd;gtH vOjpa ehtiy mbg;gil
ahf itj;J ,j;jpiug;glk; cUthf;fg;gl;lJ.
Sorrow of existence vd;gNj ,jdJ fUj;J. ,e;
ehty; 1963,y; eilngw;w Njrpa ,yf;fpa tpoh
tpy; rpwe;j ehtYf;fhd tpUijg; ngw;wpUe;jJ.
,j;jpiug;glk; 1997,y; jpiuaplg;gl;lJ. ,yq;if
apy; eilngw;w gy;NtW jpiug;gl tpohf;fspy;
rpwe;j newpahsUf;fhd tpUij ,j;jpiug;glk;
ngw;Wj; je;jJ.
njhlHe;J 1999,y; fpNuf;f ehlfkhd Trojan
women (l;Nuh[d;; ngz;fs;). ,J EuripdusMy;
vOjg;gl;lJ. ,jid l;Nuh[d; fhe;jht vd;w
ngahpy; rpq;fsj;jpy; NkilNaw;wpNdd;. kPz;Lk;
,e;ehlfj;Jf;fhf rpwe;j ,af;FeH> rpwe;j ebfH>
rpwe;j ebif cl;gl gy Njrpa tpUJfs; fpilj;
jd.
vdJ midj;J ehlfq;fSNk murpay; gw;wpa
jhf ,Ue;jd. vdJ Muk;gfhyj; jpiug; glq;fs;
jdpkdpjHfs; my;yJ Fwpg;gpl;l rpyiug; gw;wpad
thf ,Ue;jNghjpYk; ,Wjpj; jpiug;glq;fshd
gtJf;f> gtfHk ,uz;LNk murpaiy ikag;gLj;
jpapUe;jd.
ePq;fs; jpiug;glq;fis ntspehLfSf;F
mDg;Gtjpy;iyah?
KjyhtJ jpiug;glkhd `d;rtpyf; jtpu Vida
vitAk; ntspehLfspy; eilngw;w jpiug;gl
tpohf;fSf;F mDg;gg;gltpy;iy. ,jw;Ff; fhu
zk; jahhpg;ghsHfs; Mq;fpy cgjiyg;Gf;fs;
(Subtitle) NghLtjw;F mDkjpf;fhikNa MFk;.
jw;NghJ Jq;ntdpahika> `d;rtpyf; Mfpa
,uz;ilAk; DVDapy; Mq;fpy cgjiyg;Gf;fS
ld; nfhOk;gpy; ngwyhk;. gtJf;f> gtfHk kw;Wk;
RjpyhNf fjht Mfpadtw;wpw;Fk; cgjiyg;Gf;
fs; ,lg;gl;Ls;sd.
vdJ rpy glq;fs; ntspehLfspy; trpf;Fk; ,yq;
ifaHfshy; jpiuaplg;gl;ld. rpy FOf;fshf
,j;jpiug;glq;fisj; jpiuapl;lhHfs;.
cq;fsJ ,Wjpj; jpiug;glkhd gtJf;f>
gtfHk ,uz;ilAk; jpiug;glkhf;fj; J}z;
Ljyhf mike;jJ vJ> ,j;jpiug;glq;fs;
%ykhfg; ghHitahsHfSld; vijg; gfpHe;J
nfhs;s tpUk;gpdPHfs;?
gtJf;f (Sorrow of Existence)I Muk;gj;jpy; ,U
jpiug;glq;fshff; nfhz;Ltu vz;zpapUf;f
tpy;iy. xU jpiuf;fijNa vOjg;gl;lJ. ,j
idj; jpiuf;Ff; nfhzHe;jNghJ mJ MW kzp
Neu kpf ePz;l jpiug;glkhf ,Ue;jJ. mjdhy;.
mij cilj;J gtJf;f> gtfHk vd;w ,U
jpiug;glq;fshf cUthf;fpNdd;.
gphpl;\hhpd; Ml;rpf;fhyj;ij epidTf;Ff; nfhz;L
tUtjw;fhfNt ,jid cUthf;fpNdd; vd;W
nrhy;yyhk;. ,jD}lhf ,we;jfhyj;ij kl;Lky;y
epfo;fhyj;ijAk; fhl;rpg;gLj;jNt tpUk;gpNdd;.
cz;ikapy; 1971 fpsHr;rpapYk;> 1983 ,df;fyt
uj;jpYk;> gpd;dH 1987–1989 fhyg;gFjpapy; njd;dp
yq;ifapy; eilngw;w gLnfhiyfspYk; vd;d
epfo;e;eJ? ngsj;j ehL vd;W nrhy;yg;gLfpd;w
,yq;ifapy; ,j;jifa td;Kiwfs; Vd; epfo;e;
jd vd;w Nfs;tpia ,t;tpU jpiug;glq;fSk;
vOg;gpd. ngsj;j rpj;jhe;jj;jpd;gb tpjpapd; (fHkh
tpd;) gbNa midj;Jk; epfo;fpd;wd. ehk; ngW
fpd;w midj;JNk tpjpg;gb vd;w ngsj;j fUj;jp
aypd; kPJ ,j;jpiug;glq;fs; Nfs;tpia vOg;gpd.
,t;tpU jpiug;glq;fSk; gpujhdkhf ahNuh xU
rpy kdpjh;fSila tpjpapid my;yJ mDgtpf;
fpd;w Jd;gq;fis Nfs;tpf;F cl;gLj;jpd.
cq;fsJ ehlfq;fs;> jpiug;glq;fs;kj P hd
ghHitahsHfspd; gpujpgypg;G vt;thwhdjhf
,Ue;jJ?
ehl;bd; jw;Nghija epiyAld; xg;gpLifapy;
vdJ fiyg;gilg;Gf;fis ghHitahsHfSld;
gfpuf; fpilj;jikiaapl;L kfpo;rr
; pailfpd;Nwd;.
gtJf;f vd;w jpiug;glj;ij ghHitahsHfSld;
gfpHe;Jnfhs;sKbahky; NghdJ.
Vfhjpgjp vd;w ehlfk; 1976 Kjy; 2000 Mz;L
tiu 1400,w;Fk; mjpfkhd jlitfs; Nkil
Naw;wg;gl;lJ. 1985,y; cUthf;fpa k`uf;rah
617 jlitfs; NkilNaw;wg;gl;lJ. 1994,y;
Resistible Rise of Arturo Vvi (Rise of Hitler) 96
jlitfSk;> Men without shadows 750 jlitf
Sk;> af;rh `kda 96 jlitfSk; Nkil
Naw;wg;gl;ld. l;NuhId; ngz;fs; 1999,ypUe;J
,d;W tiu 67 jlitfs; NkilNaw;wg;gl;Ls;sJ.
vdJ KjyhtJ ehlfj;jpypUe;J ,Wjpj; jpiug;g
lkhd gtJf;f tiu midj;ijANk mjpf
vz;zpf;ifahd ghh;itahsh;fs;; (mass audience)
kfpo;Tld; ghHitapl;Ls;sdh;.
,d;W kf;fs; fiy ntspg;ghl;bypUe;J tpyfpap
Uf;fpd;whHfs;. 1997,y; jahhpf;fg;gl;l gtJf;fit
kPsj;jpiuapl;lNghJ Kd;G fhzf;fpilj;j ghHit
ahsHfisf; fhzKba tpy;iy. ,J midj;Jf;
fiyQHfspw;Fk; nghJthdjhf cs;sJ.
,jid ePqf
; s; vt;thW ghHf;fpd;wHP fs;?
jw;NghJ kl;Lky;y fle;j gj;J tUlq;fshfg;
ghHitahsHfs; jpiuauq;Ffs;> ehlf muq;Ff
spy; ,Ue;J tpyfp> XH ,ilntsp tphpe;J nry;t
ijf; fhzKbfpd;wJ. kf;fs; jpiuauq;fpw;F
te;J jpiug;glq;fis kfpo;Tld; ghHitapLtij
tpl;L tpyfpr; nrd;W tpl;ldH vd;Wjhd; $w
Ntz;Lk;.
1980 A+iyapy; eilngw;w njhlHr;rpahd Ntiy
epWj;jg; Nghuhl;lj;ijj; njhlHe;J jpiu auq;F
fs; ntWikailaj; njhlq;fpd. ngUksT ghH
itahsHfis ,jd;NghJ ,of;f Nehpl;lJ.
mjd; gpd; 1983 A+iy fytuk; ghHitahsHfis
mbj;Jr;nrd;Wtpl;lJ. 1983 fytuk; Vw;gLk; tiu
njd; gFjpapy; trpj;j jkpoHfs; rpq;fsj; jpiug;g
lq;fisAk;> ehlfq;fisAk; ghHf;f tUthHfs;.
fytuj;ijj; njhlHe;J jkpoHfs; jpiuauq;Ff
spy; ,Ue;J tpyfpdH. fytuj;jpd;NghJ jpiu
auq;Ffs;> jpiug;glr; RUs;fs; ];&bNahf;fs;
vhpf;fg;gl;ld. ,ijj; njhlh;eJ
; ngUk; vz;zpf;
ifahd ghHitahsHfs; fhzhky; NghapdH.
,jd; gpwF Aj;jk; Muk;gkhdJ. Aj;jk; Muk;gpf;
fg;gl;l gpwF mJ ,yq;ifapy; fiyapd;> fiy
QHfspd; ,Ug;gpw;F kpfg;nghpa mr;RWj;jiy
Vw;gLj;jpaJ. nghUshjhu hPjpahf kf;fs; neUf;
fbfSf;F Kfk; nfhLf;fj; njhlq;fpdH. ehshe;j
tho;T epiyaw;wjhf khwpaJ. 1987–89 fhyg;gFjp
apy; njd; gFjpapy; eilngw;w gLnfhiyfs;
kf;fis fiyntspg;ghl;bypUe;J me;epag;gLj;jp
aJ. md;W epWj;jg;gl;l ,uT 9.30 kzp jpiug;
glf; fhl;rp ,d;W tiu kPs Muk;gpf;fg;gltpy;iy.
,d;W gpujhd efuq;fspy;$l ,uT 9.30w;F gpd;dH
g]; Nghf;F tuj;jpidf; fhzKbahJ. mr;rk;
nghpa mstpy; vOe;Js;sJ.
mNrhf `e;jfktpd; Nk kNf re;ja (This
is my moon) gpurd;d tpjhdNfapd; Gufe;j
fStu (Death on the full moon day)> ,u
kjpak (The August Sun) Nghd;w jpiug;
glq;fs; ,yq;ifapy; eilngw;WtUk; NghH
gw;wpAk; ,dr;rpf;fy; gw;wpAk; fUj;Jf;fisf;
nfhz;bUf;fpd;wd. ,j;jpiug;glq;fs; jkpo;
kf;fspd; tpLjiyg; Nghuhl;lk; Vd; Njhw;wk;
ngw;wJ vd;gJ gw;wpNah my;yJ Aj;jk;
jkpo; kf;fis vt;thW tijj;jJ vd;gJ
gw;wpNah ve;jf; fUj;ijAk; nfhz;bUf;f
tpy;iy. ,jid ePqf ; s; vg;gbg; ghh;ff
; pd;
wPhf
; s;?
vdJ fUj;J vd;dntdpy; ,j;jpiug;glq;fshy;
Aj;jj;ijj; Njhw;fbf;fKbatpy;iy vd;gNj.
,j;jpiug;lq;fs; ahTk; xU gf;fj;jpd; fijiaNa
nrhy;fpd;wd. mtHfs; Aj;jk; gw;wp vt;tpj mDg
tKk; ,d;wpg; gj;jphpiffspy; gbg;gijAk; jhk;
Nfs;tpg;gLtijAk;nfhz;L fijfis cUthf;F
fpwhh;fs;.; Aj;jj;jpd; rhuj;jpid mtHfshy; czu
Kbatpy;iy. mtHfs; tpUJfis vjpHghHj;Jj;
jpiug;glq;fis cUthf;fpdhHfs;. tpUJfs;
fpilj;jd. cz;ikapy;> mtHfs; Aj;jk; gw;wpa
rhpahd Ghpjiyf;nfhz;bUe;jpUf;f Ntz;Lk;.
Vnddpy;> mtHfs; fiyQHfs;;; murpay;thjpfs;
my;yH.
rpyH <uhdpa> <uhf;fpa rpdpkhitg; ghHj;Jtpl;L
mjdhy; mUl;lg;gLfpd;wdH. The Pianist glj;ijg;
ghHf;fpd;wNghJ Aj;jj;jpd; Neub czHitg;
ngwKbfpd;wJ. Aj;jk; gw;wpj; jkpo; kf;fs; vd;d
vz;zj;ijf; nfhz;bUe;jhHfs;> rpq;fs kf;fs;
vd;d vz;zj;ij nfhz;bUe;jhHfs; vd;gijg;
gw;wpajhd xU jpiug;glj;ijf;$lf; fhzKb
atpy;iy.
,j;jifa jpiug;glq;fs; ahTk;> Vd; ,u kjpak
$l> Aj;jj;ijg; gw;wpNa NgRfpd;wJ. Mdhy;>
cz;ikahd Aj;jj;ij mj;jpiug;glk; vt;tpj;jp
Yk; gpujpgypf;ftpy;iy. ,it xU gf;fr; rhHgh
dit vd;Nw $Wfpd;Nwd;. Vnddpy;> Aj;jk; ,U
,dq;fspw;F ,ilNa eilngWfpd;wJ vd;gJ
gw;wp ve;jtpj fUj;ijAk; ,it nfhz;bUf;f
tpy;iy. mtHfs; vg;NghJk; xU gf;fj;ijNa
toq;fpf;nfhz;bUe;jhHfs;. rpq;fsf; fiyQHf
spd; gpur;rpid ,Jjhd;.
vdJ l;Nuh[d; ngz;fs; ehlfj;ij tlgFjpapy;
NkilNaw;wpaNghJ me;ehlfj;jpd; cUtq;fs;>
gbkq;fs; ahTk; fpNuf;f fyhrhuk;> fpNuf;f r%fk;
gw; w padthf ,Ue; j NghjpYk; cz; i kapy;
Nkilapy; vd;d eilngw;wJ vd;gij> rpq;fs
nkhopiag; Ghpe;Jnfhs;s Kbahj ghh;itahsh;
fs; vd;wNghJk;> milahsk; fz;lhHfs;. cU
tq;fSk; fhl;rpfSk; rf;jp tha;e;jdthf ,Ue;
jd.
,yq; i fapy; jpiug; g l newpahsHfSf; F k;
tpkrfHfspw;Fk; ,ilapy; vt;tpj njhlHGk;
,y;iy. newpahsHfs; jq;fsJ topapy; nrd;W
nfhz;bUf;fpd;whHfs; tpkh;rfHfspd; fUj;Jf;
fs; gw;wp mth;fs;; ftiyg;Ltjpy;iy.
vtuhtJ> Vd; ePqf ; s; Aj;jk; gw;wpa jpiug;glj;ij
vLf;ftpy;iy vd;W Nfl;bUg;gpd; ehd; nrhy;yp
apUg; N gd; : vd; d hy; NeHikahf Aj; j j; j pd;
Raj;ij tpk;gq;fshf;f KbahJ vd;W. Aj;jk;
epfohj gpuNjrj;jpy; tho;eJ ; nfhz;L Aj;jk; gw;wpa
jpiug;glk; xd;iw vLg;gnjd;gJ mgj;jkhdJ.
A-9 neLQ;rhiy jpwf;fg;gl;l gpd;dH tl
gFjpf; F r; nrd; W rpq; f sj; jpiug; g l
tpohf;fs; rpytw;iw elhj;jpAs;sJld;>
rpq;fs ehlfq;fisAk; NkilNaw;wpAs;sHP
fs;. ,jd;NghJ jkpo; kf;fspd; gpujpgypg;G
vt;thwpUe;jJ?
A–9 ghij jpwf;fg;gl;l gpd;dH> fiyA+lhf rpq;
fs r%fk; jkpo; kf;fSld; njhlHGfis
Vw;gLj;jpf;nfhs;s Ntz;Lk; vd;w Kaw;rpapy;
<Lgl;bUe;Njd;. rpq;fsj; jpiug;glq;fisAk;
ehlfq;fisAk; NkilNaw;WtJ vkJ vz;zkhf
,Ue;jJ. aho;. gy;fiyf;fofj;jpy; eilngw;w
rpdp ahj;uhtpy; Kjy; ehs; fhl;rpapypUe;J ,uz;
lhk; ehs; fhl;rpf;F Kjy; ehistpl mjpfkhfd
ghHitahsHfs; te;jpUe;jhHfs;. gbg;gbahf
mjpf vz;zpf;ifahd kf;fs; jpiug;glq;fisg;
ghHitapl te;jJ vq;fSf;F kpFe;j ek;gpf;
ifia Vw;gLj;jpaJ.
vy;.hp.hp.<apdH jpiug;gl tpohit itf;f Ntz;lhk;
vd; N wh my; y J ehlfq; f is NkilNaw; w
Ntz;lhk; vd;Nwh xUNghJk; $wtpy;iy. ,e;j
epfo;r;rpfSf;F nghJkf;fisg; Nghf Ntz;lhk;
vd;W $wpapUe;jhy;> mtHfs; te;jpUf;fkhl;lhH
fs;. vy;.hp.hp.<apdH jLj;jpUg;gpd; ,jid ntw;wpfu
khfr; nra;jpUf;fKbahJ.
ePqf
; s;> `e;jfk> gpurd;d MfpNahH ePz;
lfhykhfr; rpq;fsj; jPtputhjpfsplkpUe;J
gy;NtW mr;RWj;jy;fSf;Fk; nfhiykpul;ly;
fSf;Fk; MshfptUfpd;wHP fs;:
,jw;F xU fhuzk; murpay; rk;ke;jkhd gilg;
Gf;fis cUthf;FtNj. ,e;j mr;RWj;jy;fs;
gy; N tW topfspy; tUfpd; w d. ,J gw; w p
chpatHfsplk; Kiwapl;Lk; ve;jtpj eltbf;
iffSk; Nkw;nfhs;sg;gLtjpy;iy. fiyQHfs;
rkhjhdr; #oiy tpUk;Gfpd;whHfs;. rpq;fstHfs;
kl;Lky;y> jkpo;> K];ypk; fiyQHfSk; fiyg;g
ilg;Gf;fis cUthf;Ftjw;F rkhjhdr;#oy;
epyTtijNa tpUk;Gfpd;whHfs;. ~fiy| vd;gJ
Gjpatw;iwg; gilg;gJ - cUthf;FtJ. ~Aj;jk;|
,jw;F vjpuhdJ – mJ vy;yhtw;wiANk mopg;gJ.
jkpo; kf;fSld; njhlHGfisg; NgZtNj gpur;rp
idiaj; jPHg;gjw;fhd ,yFthd topnad;W
epidf;fpd;Nwd;. jkpo; - rpq;fs murpay;thjpfshy;
,jidr; nra;a Kbatpy;iy. MfNt> fiyQH
fs; ehk; vkJ rf;jpf;F Vw;g jkpo; kf;fSld;
njhlHigg; Ngzp tUfpd;Nwhk;. ,JNt fhyj;jpw;
Ff; fhyk; mr;RWj;jy;fisg; ngwf; fhuzkhf
,Uf;fpd;wJ.
rkhjhdj;ij tpUk;Gfpd;wtHfs; my;yJ rkhjh
dj;jpy; <LghL fhl;Lfpd;wtHfspd; vz;zpf;if
Fiwtile;J nry;fpd;wJ. jw;NghJ njd;gFjp
apy; XH ,af;fk; cUthfp> rkhjhdj;jpy; <LgLfpw
tHfis> jkpo; kf;fSld; njhlHGnfhs;Sk;
fiyQHfis nksdkhf;fp tUfpd;wJ. gaq;fu
mr; R Wj; j y; f s; mtHfis nksdkhf; f ptpL
fpd;wJ.
,d;W njd;gFjpapy; ,Ug;gtHfSf;F gpujhd
gpur;rpid Aj;jk; my;y ehis vg;gb capHtho;t
njd;w Vf;fNk. ,J tlf;F> fpof;fpy; tho;fpd;w
tHfSf;F xU Gjpa mDgtk; my;y. vd;W
,e;j kf;fSf;F ehis vg;gb ,Uf;FNkh vd;w
njhpahj epiy Vw;gLfpd;wNjh md;W ,e;j ehL
kpfg; gaq;fukhd epiyapypUf;Fk;.
ePq;fs; ngUk;ghd;ikapdj;jtuhf ,Ue;j
NghJk; rpWghd;ik ,dj;jtuhf czHtjhf
Kd;G $wpapUf;fpd;wHP fs;:
Mk;> ehk; vkJ vz;zq;fis - mDgtq;fis
fiyA+lhf ntspg;gLj;j Kbahky; cs;sJ.
(so I feel that I am a minority) ,jdhy; ehd; xU
rpWghd;ik ,dj;jtd; vd;Nw ,d;W czUfpd;
Nwd;.
TrikonE ARTS CENTERI
cUthf;fpaJ> mjd; Nehf;fk;:
tlf;fpy; fiyAld; rk;ge;jg;gl;l ngUk;ghyhdtH
fisr; re;jpj;jpUf;fpNwd; tl-fpof;F my;yJ
njd;gFjp vd;w NtWghL ,y;yhky; ,yq;iff;
fiyQHfspd; fiyahf;fq;fis Kd;ndLg;gjw;F
XH ,lk; Njit vd czHe;Njd;. tl-fpof;fpy;
thOk; fiyQHfspd; vz;zq;isAk;> vkJ
rpe; j idfisAk; gfpHe; J nfhz; L nraw; g l
tpUk;gpNdd;. ,jdhy; vkf;F XH ,lk; Njitg;gl;
lJ. caHjukhd fiyfis ,yq; i fapy;
cUthf;fNtz;ba Njit ,Uf;;fpwJ. vkf;F
gy tplaq;fis mwpe;Jnfhs;s Ntz;ba Njit
Ak; Vw;gl;lJ. ,jdhy; cUthdNj TrikonE
ARTS CENTE.
mz;ikapy; ePqf; s; NguhrphpaH nksdFUtpd;
njd;Nkhb ehl;Lf;$j;jhd ,uhtNzrid
glk; gpbj;J> Mq;fpy cgjiyg;Gf;fs; ,l;Lj;
jpiug; g lkhf Mtzg; g Lj; j pAs; s P H fs; .
,jid Mtzg;gLj;j Ntz;Lk; vd;w vz;
zk; vt;thW Vw;gl;lJ?
tlf;fpw;fhd A-9 ghij jpwf;fg;gl;l gpd;dH tl-
fpof;Fg; gFjpfSf;F gy jlitfs; gazk;
nra;jpUe;Njd;. tl-fpof;F fiyQHfspd; jpwik
iag; ghHf;Fk;NghJ kfpo;r;rpaile;Njd;. Fwpg;
ghff; fpof;fpyq;ifapd; njd;Nkhb ehl;Lf;$j;J
vd;idf; ftHe;jJ. mjpYk; ,uhtNzrd; ehl;
Lf;$j;J vd;Ds; tpag;ig Vw;gLj;jpaJ. mNj
Neuk; tpy;Yg;ghl;L> ehl;lhH ghly;fs;> ehl;Lg;Gw
,ir (Folk music), ehl;Lg;Gw (kf;fs;) eldk;
(Folk dance), aho;gg
; hzj;jpy; tl;Lf;Nfhl;il ehl;
Lf;$j;Jf; FOtpduJ fiy ntspg;ghLfs;> ,tw;
wpy; ehlfj;jpw;Fhpa rf;jptha;ej; $Wfs; (Thea-
trical elements) ,Ug;gijAk;> ehlfj;jpw;Fhpa
tYthd cUtfq;fs; (Images) ,Ug;gijAk;
fz; L nfhz; N ld; . (I realised very strong
theatrical elements and strong theatrical
images in those folk music and folk dance.)
mjdhy; mtw;iw Mtzg;gLj;j Ntz;Lk; vd;w
Mty; vd;Ds; Vw;gl;lJ. mjdhy; mtw;iwg;
glk;gpbf;f (video) Muk;gpj;Njd;. ,uhtNzrd;
,t;thWjhd; glk; gpbf;fg;gl;L> gpd; vbl; gz;
zg;gl;L> Mq;fpy cgjiyg;Gf;fs; ,lg;gl;L tptu
zg; glkhf;fg;gl;lJ. ,g;NghJ me;j ehlfj;ij
($j;ij) rpq;fs nkhopapy; khw;wk; nra;J rpq;fs
kf;fSf;F fhz;gpf;f cs;Nsd;. ,jw;fhf me;j
ehlfj;ij kPs vOj Muk;gpj;Js;Nsd;.
NguhrphpaH nksdFUtpd; cjtpAld; rpq;fs
ehl;baj;ijAk;> jkpoh;fspd;; ehl;Lf;$j;ijAk;
,izj;J rpq;fs nkhopapy; ,jid cUthf;f
vz;zpAs;Nsd;. ,jpy; tl ,e;jpa eldj;ij
vt;thW ,izg;gJ vd;W Muha;rr ; papy; <Lgl;Ls;
Nsd;. tl ,e;jpa eldKiwf;Fk; njd;dpyq;if
apYs;s eldKiwf;Fk; ,ilapYs;s xj;j
jd;ikfs; gw;wpAk; Muha;e;J tUfpd;Nwd;. ,W
jpapy; cUthf;fTs;s fiyg;gilg;G Mrpahitg;
gpugypg;gjhf> Mrpahtpd; ghuk;ghpa eldj;ij>
fiyia ntspg;gLj;Jtjhf ,Uf;Fk;. l
(ed;wp: ~fhyk;|-fdlh)
vd;Wk; epiyj;jpUf;Fk; mUk;gzp
J}jpf;fhNth jpiug;glk;: Naw; w g; g l; l NghJ jh; k rpwpapd; jpupNfhz
rpy mtjhdq;fs; fiyafj;jpdu; ,jid KOikahf tpbNahtpy;
xspg;gjpthf;fpapUe;jdH. ehlfk;
Njrq;fs;> vy;iyfs;> NghH> ntw;wp-Njhy;tp> gaq; NkilNaw;wg;gl;lijj; njhlHe;J eilngw;w
futhjk; Kjyhdtw;wpw;F mg;ghYk;> Nkw;$wg;gl; epfo;Tfs;> mr;RWj;jy; fhuzkhfj; njhlHe;Jk;
Ls;stw;wpd; NjitfSf;fhfTk; rhjhuz kdpj ,e;j ehlfj;ij NkilNaw;w Kbahky; Nghdik
capHfs; gypaplg;;gLtij ehk; thOk; cyfk; Mfpad mjid xU tptuzf; FWk;glkhf;f
kpFe;j rfpg;Gj;jd;ikAld; Vw;Wf;nfhs;sg; gofpf; ju;krpwpia ce;j cUthd jpiug;glNk vd;Wk;
nfhz;Ltpl;lJ! 2004 nrg;nlk;gH 3,y; nrr;rpdpa epiyj;jpUf;Fk; mUk;gzp.
nfupy;yhf;fs; ,U Nfhupf; iffis
Kd;itj;J u\;ahtpd; ng]; yhd;
ngz;fs; caH ghlrhiyapy;;
khztHfs;> ngw;NwhHfs;> MrpupaHfs;
vd Mapuj;Jf;Fk; mjpfkhdtHfsg;
gzak;itj;j ehlfk; ,uj;jk; Njha;e;
jjhf> Vwj;jho 350 rhjhuz kdpjHf
spd; capupog;Gld;> %d;W ehl;fspy;
KbTf;F tUfpd;wJ. ,we;jtHfspy;
150f;Fk; mjpfkhdtHfs; khztpfs;;.

ng];yhd; rk;gtj;ij fUg;nghUshff;

nfhz;L fle;jfhy murpay; epfo;Tfs;
xUrpytw;iwAk;> mtw;wpw;Fk; mg;gh
yhd khDl Neaj;ijAk; xNu ehl;by;
tho;fpd;w ngUk;ghd;ikapd kf;fs;
jkJ rNfhju ,dj; jkpo; kf;fspd;
Jaiu mwpe;J nfhs;shky; ,Ug;gj
ijAk; fiy ntspg;ghl;by; ,ioNahl
itj;J ,yq;ifapd; fSj;Jiw jpUf;FLk;g
fd;dpaH kl ghlrhiy khztpfs; xU Nkil
ehlfj;ij 2005,y; muq;Nfw;wpapUe;jdH.
,e;ehlfk; Kjw; jlitahfj; jpUf;FLk;g fd;
dpaH klj;jpy; NkilNaw;wg;gl;lNghJ Gfo; ngw;w
rpq;fs ehlf> jpiug;lgl ,af;Feuhd ju;krpwp
gz;lhuehaf;f rpwg;G tpUe;jpduhf miof;fg;gl;b
Ue;jhu;. khztpfs; ehlfj;jpw;Fj; jahuhd tpj
Kk;> mtHfsJ ebg;ghw;wYk;> mtHfs; Ngr
vLj;Jf;nfhz;l tplaq;fSk;> NeHNfhl;by; mik
ahj ehlf ,af;fKk;> ehlfk; Vw;gLj;jpa Aj;jk;
gw;wpa tpopg;GzHTk; ju;k
; rpwp gz;lhuehaf;fhit
<u;j;jJ tpag;ghdjy;y.
rkhjhdj;jpw;F Mjuthd mikg;Gf;fspd; cjtp
Ald; 2005 brk;gH 5,y; yady; ntd;l; muq;fpy;
J}jpf;fhNth (Mission Everlasting) vDk; me;
ehlfk; ,uz;lhtJ jlitahf Nkil
J}jpf;fhNth ehlfk; nfhOk;gpy; NkilNaw;wg;gl;l
rpy ehl;fspy; jpUf;FLk;g fd;dpaH kl mjpg
Uf;Fk;> Tricone Art Centre> Bergohf Foundation>
FLICT Nghd;w rkhjdj;jpw;F Mjuthd mikg;
Gf;fSf;Fk; ‘tPjpa gz;lhu gilazp’ vd;w
FOtplk; ,Ue;J vr;rupf;if nra;Ak; kpd;dQ;ry;
xd;W mDg;gg;gl;bUe;jJ. mf;fbjj;jpd; Kbtpy;
“,e;ehlfj;ij vjpu;fhyj;jpy; kf;fs; fhl;rpf;F
NkilNaw;Wtjhdhy; ve;jnthU fhuzj;jpw;fhf
Tk; Nkw;$wpa muR rhHgw;w epWtdq;fisj;
njhlHGgLj;jpf;nfhs;s Ntz;lhnkd ,j;jhy;
fLikahf vr;rupf;fg;gLfpwPuf; s;. mt;thW ,e;ehl
fj;ij muq;Nfw;WtPuf ; shdhy; NkilNaw;wg;gLk;
xt;nthU re;ju;gg; j;jpYk;> mjd; ,Wjpapy; gpugh
fud; vd;gtd; xU gaq;futhjp vd;Wk;> ehlfj;jpy;
fhz;gpf;fg;gl;lJNghy; u\;ahtpy; nrr;rpdpag;
gaq;futhjpfs; nydpd;fpuhl; ngz;fs; cau;
ghlrhiyapy; nra;jJNghd;Nw gpughfuDk; rpW
tu;isg; gzaf;ifjpfsha; Mf;FtijAk;> mij
tplg; gaq;fukhfg; gps;isfis Aj;jj;jpw;Fg;
gad;gLj;JtijAk; gpufldg;gLj;j Ntz;Lk;.
,e;j vr;rupf;ifia fLikahff; filg;gpbf;F
khWk;> ,jw;F Kuzhf elg;gJ gaq;fukhd
tpisTfs; Vw;gl VJthfyhk; vd;gjidAk;
ed;F kdjpy; gjpf;Fk;gbAk; typAWj;jpf; $Wfpd;
Nwhk;.
kfhehf>
%d;whtJ fl;lisapLk; mjpfhup>
tPjpa gz;lhu gilazp>
fPunty;iy”
vd;W epiwtilfpd;wJ.
(,g;gFjpAk; tptuzg;glj;jpy; NrHf;fg;gl;Ls;sJ)
xU kzpNeuj;jpw;Fk; mjpfkhd fhl;rpNeuj;ijf;
nfhz;l ,e;ehlfj;jpd; rpy gFjpfisAk; ehl
fj;jpy; gq;Nfw;w khztHfspd; czHTfisAk;
vr;rupf;if kpd;dQ;riyAk; “,e; ehlfj;jpid
mtHfsJ Nehf;fj;jpw;fhf khw;wq;fisg; GFj;jp
NkilNaw;w ehk; xUNghJk; jahuhf ,y;iy.
ehk; rfyuplKk; Nfl;Lf;nfhs;tJ ,g;gilg;gpid
ePqf
; s; kPzL
; k; ghHj;J urpj;J ,jw;F epahaj;ij
toq;fNtz;Lnkd;gJjhd;” vd;w ghlrhiy mjpg
upd; $w;wpidAk; ehlf MrpupaH kw;Wk; ,af;Feh;
MfpNahupd; gpujpgypg;Gf;fisAk; ,izj;J
mjid 35 epkpl fhl;rpNeuk;nfhz;l ,Wf;fkhd
tptuzg;glkhf jHkrpwp gz;lhuehaf;f newpg;gLj;
jpAs;shH.
ehlfj;jpy; (jpiug;glj;jpy;) ,lk;ngWk; ghly;fSk;
,irAk; ghly;fspw;Nfw;w khztpfspd; mgpeaq;
fSk; ghHitahsiu Nkilf;F mUNf mioj;
Jr;nry;fpd;wd. rpq;fs nkhopapy; mike;j ,j;
jpiug;glj;jpw;F jkpo;g; gpd;dzpf;Fuy; fzPnud;W
nrtpf;Fs; tpoj;jf;fthW nghUj;jkhd Vw;w ,wf;
fq;fSld; NeHj;jpahf cgNahfpf;fg;gl;Ls;sJ.
ghly;fspw;F khj;jpuk; jkpo; cgjiyg;Gf;fs;
NrHf; f g; g l; L s; s d. (,j; j piug; g lg; gpujpia
Mq;fpy cg jiyg;Gf;fSlDk; ngwf;$bajha;
cs;sik Fwpg;gplj;jf;fJ.)
ng];yhdpy; gzaf;ifjpfshf itf;fg;gl;Ls;s
khztpfs;> Nghuhspfspfspd; gpd;dzp> fWg;gpd
kf;fspd; tpLjiyf;fhd Fuy;> ur;Nry; $up vd;Dk;
mnkupf;f kdpjhgpkhd ngz; gj;jpupifahsH
,];Nuypa Gy;Nlhrupdhy; neupj;Jf;nfhy;yg;gLk;
rk;gtk; vd;W gy;NtW rk;gtq;fspd; NfhHitahf
ehlfhrpupaH k`pe;j ehky; ,g;gilg;ig cUthf;
fpAs;sJld; mtH Fwpg;gpLtJNghy; ,J xU
Aj;j vjpHg;Gg; gilg;ghfTk; mike;J xUtpjj;jpy;
ntw;wpngw;Ws;sJ. (Vnddpy; ,e;j ehlfj;ijj;
njhlHe; J NkilNaw; w Kbahky; jLf; f g;
gl;Ls;sJ.)
,j;jpiug;glj;ijg; ghHitapl;Lf;nfhz;bUe;j
NghJ ,J ,yq;ifapd; rkfhy murpay;> Aj;j
epyikfisf; Nfs;tpf;Fl;gLj;Jtjhf kpfTk;
typikahd Fuypd; mjpHTfis ghHitahsdpy;
guttpLtij czuKbe; j J. cz; i kapy; >
njd;dpyq;ifapy; rpq;fsj;; jPtputhjg;Nghf;F
cs;stHfspd; Nfhl;il vd;W fUjg;gLk; fSj;J
iwapy; ,Ue;J ve;jtpj murpay; gpd;dzpAk;
,y;yhj XH MrpupaH ,UgJ tUlq;fSf;Fk;
Nkyhf Aj;jk; epfo;e;Jk; tl-fpof;fpy; vd;d
elf;fpwJ vd;gNj njupahky; tho;eJ
; tUk; njd;
gFjp kf;fs; kj;jpapy;> Fiwe;jJ khztpfs;
kj;jpapyhtJ gaq;futhjk; vJ vd;W Nfs;tpf;Fl;
gLj;JtJ kpfTk; Mr;rupakhdjhf ,Ue;jJ.
“ehd; NgRtJ nghyprhuhy; mg;ghtp kdpjHfs;
mr;RWj;jg;LtJ gw;wp> epuhAjghzpfshd fWg;gpd
kf;fSf;F vjpuhd ,k;irfs; gw;wp> ehd; NgRtJ
nghyprhuhy; mg;ghtp kdpjHfisg; gl;bdp Nghl;Lr;
nra;Ak; ,k;irfs; gw;wp. ,tw;iwnay;yhk; ghHf;
Fk;NghJ ePqf; s; nrhy;Yk; thHj;ijfs; vy;yhtw;
iwAk; kPwpa gaq;futhjk; mq;Nf ,Ug;gjhfj;
jhd; ehd; epidf;fpNwd;” vd;w tupfisf; Nfl;
fpd;wNghJ - tlfpof;fpw;fhd ghijfs; %lg;gl;L
jkpo; kf;fs; gl;bdp Nghlg;gl;L ,k;irg;gLj;
jg;gLtJ vtUf;fhtJ epidTf;F te;jhy; mJ
,g;gilg;gpd; typikNa.
gzaf;ifjpahf itf;fg;gl;bUe;j na]Pdh vd;w
khztp Jg;ghf;fp Kidapy; thrpf;Fk; fbjk;
Clfq;fspy; xspgug;gg;gLfpd;wJ. ,g;gFjpia
ghHitapl; l NghJ nrQ; N rhiy tpkhdf;
Fz;LtPr;rpy; fhakile;J fz;bapy; rpfpr;ir
ngWk;NghJ ifJnra;ag;gl;l khztp> jpiuf;Fg;
gpd;dhy; vOjpf;nfhLf;fg;gl;L – Gidag;gl;l
fbjj;ij thrpj;jJ epidTf;F te;jJ.
“Aj;jk; ,Uf;Fk;tiu xt;nthUtUk; gzaf;ifjp
jhNd vd;W ,g;NghJ vkf;Fj; Njhd;W fpwJ”
vd;W mf;fbjk; epiwtilfpd;wJ.
“Aj;jk; ,y;iynad;W Ml;rpahsHfs; ngupanjhU
kiwg;gpw;Fg; gpd;dhy; ,Ue;jgbjhd; kf;fis
ek;gitf;f Kay;fpd;whHfs; Mdhy;> njspthfNt
Aj;jk; ,Uf;fpd;wJ! vd;W ehlfj;jpy; gq;Nfw;w
khztp Fwpg;gpLtJ njd;dpyq;ifapd; ajhHj;j
epiyia gpujpgypf;fpd;wJ.
ehlfj;jpy; gq;Nfw;w ,d;ndhU khztp> “ehk;
,UgJ Mz;Lfs; NghH epfo;e;j ehnlhd;wpy;
thOk; kf;fs;. cz;ikahfNt ehk; mt;tsT
fhyk; Aj;jk; epytpa ehnlhd;wpy; tho;e;jhYk;
ehk; Aj;jk; gw;wpj; njhpe;J itj;jpUg;gJ nrhw;g
tplaq;fs; khj;jpuNk… gps;isfs; 155 Ngustpy;
capupoe;j tpjk;> ngw;NwhHfs;> MrpupaHfs; capup
oe;j tpjk; mtu;fisg; gaq;futhjpfs; ftdpj;j
tpjk; Nghd;wtw;iwf; fz;lNghJ kpfTk; czu;rr ; p
trg;gl Neu;ej; J… mNjNghy; vkJ ehl;bd; jk;gp
– jq;ifaHfs; tlf;F-fpof;Fg; gpuNjrq;fspy;
thOk; mtHfs; vt;tpjkhd rk;gtq;fSf;F Kfk;
nfhLf;fpd;whHfs; vd;gJ gw;wpa njspT vkf;F
Vw;gl;lJ… mtHfSf;fhfj; Jaug;gl> mtHfSf;
fhff; fzg;nghOijr; nrytpl vkf;Fk; tha;gG ; f;
fpilj;jNj vd;W kfpo;r;rpailayhk;… xU
fzkhtJ mtHfs; mDgtpf;Fk; Jd;gj;ij
NkilapyhtJ nfhQ; r Neuk; mDgtpj; J j;
jhq;fpf;nfhs;s vq;fSf;Fr; re;jHg;gk; fpilj;jJ.
mjd; %ykhtJ mtHfSf;F epahak; fpilf;f
yhnkd;W vkf;F epidf;Fk; tha;g;G Vw;gl;lJ”
vd;W jdJ czHTfis ntspg;gLj;JtJ kpf
Tk; czHTG+Htkhdjha; ,Ue;jJ.
ehlfj;jpy; ,lk;ngWk; ghly;fSk; ehlfj;jpd;
fUj;jpw;F tYr;NrHg;gjhfNt mike;jpUe;jd.
“cz;zf; nfhlhky; gpQ;Rfs; vkf;Fj; Njhl;lhf;
fs; je;jJ Vd;? Ngdhitj; juhky; vkJ iff
spy; Jg;ghf;fpfs; je;jJ Vd;? fy;tpf;$lj;jpw;Fg;
gjpyhfg; NghHf;fsj;ij cupikahf;fpaJ Vd;?
rpWtH vkJ fz;zuP pd; Nky; Kb#LtJk; ahNuh?”
vd;w ghly; tupfs; ahiuf; Nfs;tpf;Fl;g; Lj;Jfpd;
wd vd;gJ Nehf;fj;jf;fjha; ,Ug;gJk; fle;j
rpy jrhg;jq;fshf Aj;jj;jpw;F Kfk;nfhLj;Jt
Uk; jkpo; khztHfspd; Jaupd; FuyhfTk; ,Ug;g
Jk; ftdk;nfhs;s itf;fpd;wJ.
khztp nayPdh nrhy;fpwhs;: mg;gh ,g;NghjhtJ
me;jj; Jg;ghf;fpia xUGwkha; itAq;fs;. ehk;
ahUk; ,q;fpUe;J jg;gpg;Nghfkhl;Nlhk;.
mg;NghJ Nghuhsp nrhy;fpwhd;: %j;jkfNs! cdf;
Fr; rpy tplaq;fs; njupfpwJ Mdhy; vy;yhKk;
my;y ,e;jj; Jg;ghf;fp ,y;iynad;why; ahH
vq;fs; FuYf;F ,e;jsTf;fhtJ nrtp rha;gg ; hH
fs;? ,e;j ,lj;jpy; jkpo;kf;fspd; epahakhd
cupikf;Fuy; vjpnuhypf;fpd;wJ.
jpiug;glj;jpy; xU nrr;rpdpag; Nghuhsp jhd;
Vd; Nghuhl;lj;Jld; ,ize;Jnfhz;Nld; vd;W
$WtJ ,yq;iff;Fk; nghUj;jkhdjha; mike;
JtpLfpwJ.
nrr;rpdpag; Nghuhsp: vq;fs; Cupy; ,Ue;jJ xNu
xU fpzWjhd;. vdJ kfSk; mtsJ mk;khTk;
Cupy; Vida ngz;fSk; me;jf; fpzw;wbf;F
ePh; ms;sg; NghapUe;jhu;fs; jpBnud;W… jpB
nud;W… mtu;fSf;F Mfha tpkhdk; xd;wpd;
rj;jk; Nfl;lJ. mtu;fs; mUfpypUe;j Fbirf;Fs;
GFe;Jnfhz;lhu;fs;. mt;tsTjhd;! mjd; gpwF
kWgbAk;… mjd; gpwF kWgbAk;… me;j ,U
fz;fisAk; vd;dhy; fhzNt fpilf;ftpy;iy…
,J ehlf Mrpupau; ng];yhd; rk;gtj;ij Clf
khf itj;J jkpo; kf;fs;kPJ njhLf;fg;gl;l
nfh^u Aj;jj;jpd; gpujpgypg;ig> mtu;fsJ
Nghuhl;l epahaj;ij ntspg;gLj;Jtjhf mike;
jpUe;jJ.
rkhjhdj;jpw;fhd cz;ikahd mf;fiw vd;gJ
jkpo; kf;fSf;F murpay; cupikfs; kWf;fg;gl;
Ls;sij Vw;Wf;nfhs;Sjy; kl;Lky;y> jkpo; kf;
fs;kPJ jpzpf;fg;gl;l Aj;jj;jpd; %yk; mtu;f
Sf;F ,iof;fg;gl;l mePjp> Aj;jk; mtu;fis
vt;thW mopj;Jr; rpd;dh gpd;dkhf;fpaJ vd;g
ijAk; czHjNy. ,jidg; ngUk;ghd;ikr; rpq;f
stu;fs; kj;jpapy; xU rpyUf;fhtJ ,e;ehlfj;jpd;
%yk; czu;j;jpapUg;gJ tuNtw;fj;jf;fJ. ,j;
jpiug;glk; njd;dpyq;ifapd; Mr;rupakhd xd;iw
Mtzg;gLj;jpr; nry;fpwJ.
gpd;tUk; Nkw;Nfhs; thrfq;fSld; mtu;fs; me;j
ehlfj;ij - jpiug;glj;ij ghu;itahsu;fs; Kd;
nfhz;LtUfpwhu;fs;. “ez;gu;fNs> VNjDk; xU
ehs; vdJ gps;isfs; ehy;tUk; mtu;fsJ
rUkj;jpd; tz;zj;jhy; my;yhky; mtHfsJ
rhjpapd; ngauhy; my; y hky; mtu; f sJ
elj;ijapd; cs;slf;fj;jhy; jPu;khdpf;fg;gLk;
xU ehl;by; tho;thu;fnsd ehd; fdT fhz;
fpNwd;.”
- gh.Jthufd;
ng];yhdpy; ele;jJ vd;d?
2004 Nfhil tpLKiwapd; gpd;dH nrg;nuk;gH Kjyhk; jpfjp u\;ahtpy; cs;s ghlrhiyfs;
ahTk; kPsj; jpwf;fg;gLfpd;wd. md;iwa jpdk; ngw;NwhUk; jq;fs; gps;isfSf;Fj; Jizahfg;
ghlrhiyf;F tUfpd;wdH khztHfs; MrpupaHfSf;F nfhLg;gjw;fhf kyHfisf; nfhz;L
tUfpd;wdH.
gps;isfSk; ngw;NwhUk; ghlrhiyf;Fs; Eioe;j rpwpJ Neuj;jpy; 25 ,ypUe;J 30
tiuahd nrr;rpdpaj; jPtputhjpfs; (nuuwp];l; vd;w gjk; ,izaj; jsj;jpy; gad;gLj;
jg;gl;lLs;sJ) fsthlg;gl;l xU nghyp]; thdpy; ghlrhiyf;Fs; Eiofpd;wdH.
thapypy; epd;w fhty;JiwapdH mtHfis gupNrhjpf;f Kw;gLifapy; nfupy;yhf;fspd;
Jg;ghf;fpg; gpuNahfj;jpy; ,U fhty;Jiwapdu; capupof;f> ,Utu; fhakilfpd;wdu;. mt;Ntis
fhty;JiwapdUf;F cjt mt;tplj;jpw;F tpiue;j ngw;Nwhupy; 6 NgUk; nfupy;yhf;fspd;
Jg;ghf;fpf; Fz;Lfspw;Fg; gypahfpd;wdu;.
ghlrhiyapDs; Eioe;j nfupy;yhf;fs; khztpifis xU kz;lgj;jpYk;> Mrpupau;fisAk;
ngw;NwhiuAk; gpwpNjhu; kz;lgj;jpYk; gzak; itj;jdu;. khztHfis tpLtpf;f Kd;du;
,U Nfhupf;iffis epiwNtw;w Ntz;Lk; vd;W mwptpj;jJld;>; xt;nthU [pfhj;jp nfupy;yh
nfhy;yg;gLfpwNghJ 50 K];ypk; my;yhj gps;isfs; nfhy;yg;gLthHfs; vd;Wk;> jkJ
jug;gpy; xUtH fhakilfpd;wNghJ 20 K];ypk; my;yhj gps;isfs; nfhy;yg;gLthHfs;
vd;Wk; vr;rupj;jpUe;jdH. ghJfhg;Gg; gilapdUk; tpNrl gapw;rpngw;w nfhkhz;Nlhf;fSk;
ghlrhiyf; fl;blj;ij #o epiynaLj;J epw;fpd;wdu;.
mjpfhupfs; rpyu; gzaf;ifjpfSf;F> Fwpg;ghfg; gps;isfSf;F czitAk; ePiuAk;
ntspapy; ,Ue;J nfhz;Ltu mDkjpNfl;lNghJ jPtputhjpfs; kWj;Jtpl;ldu;. gzaf;ifjpfs;
kyry$lj;ijg; gad;gLj;Jtjw;Ff;$lj; jPtputhjpfs; mDkjpaspf;tpy;iy. MrpupaHfs;
,ufrpakhf khztHfspw;F> capHgpiog;gjw;fhf jkf;F md;gspg;ghff;nfhz;L te;j G+f;fis
rhg;gpLkhW jfty; xd;iwf; fpilf;fr; nra;jdu;. gps;isfs; G+f;fis cz;gij mtjhdpj;j
jPtputhjpfs; mtw;iwg; gpa;j;J vwpe;jdu;.
rkur Kaw;rpfs; ,uz;L ehl;fshf ePzL ; nfhz;Lnry;y> gps;isfs; rpyH jPtputhjpfspd;
gpbapy; ,ue;J jg;gp Xbdu;. mtHfs; XLk;NghJ VidatHfSk; mt;thW KayhjpUf;f
jPtputhjpfs; Jg;ghf;fpg; gpuNahfk; nra;jdu;. ,e;epiyapy; gps;isfspy; gyH jhfj;jpdhy;
Jtz;L tpOe;J ,we;jdH. VidatHfs; nfupy;yhf;fSf;F njupahky; jq;fsJ rpWePiu
mUe;jp capHgpioj;Jf;nfhz;ldu;. epiyik fw;gidnra;a Kbahjstpw;F nfhLikah
fpaJ.
nrg;nuk;gH 03,y; ngUk; vz;zpf;ifapyhd gps;isfs; jg;gp Xl Kaw;rpj;jdu;. jg;gpr;
nry;ifapy; jPtputhjpfspd; Jg;ghf;fpg; gpuNahfj;jpy; khztHfs; gyu; epyj;jpNy tPo;e;J
,we;JNghapdu; ,e;j Ntis tpNrl gaw;rp ngw;w nfhkhz;Nlhf;fspy; xU gFjpapdu;
gps;isfspy; rpyiuf; fhg;ghw;w> VidNahu; nfupy;yhf;fis Nehf;fp Jg;ghf;fpg; gpuNahfk;
nra;jthW Kd;Ndw ngUk; Nkhjy; ntbj;jJ.
epiyik fl;Lf;flq;fhky; nry;tij mtjhdpj;j jPtputhjpfs; gilapdiu Nehf;fpAk;>
gzaf;ifjpfs; ngUkstpy; jg;ghjpUf;f ifjpfs; ,Ue;j fl;llj;jpd;kPJk; ifnawpFz;L
fis tPrpdu;. mj;Jld; Gijj;Jitj;jpUe;j ntbFz;Lfis ntbf;fitf;f> ifjpfs;
,Ue;j fl;blj;jpd; $iu jfHe;J tPo;e;jJ.
,ijj; njhlu;e;J nfhkhz;Nlhf;fs; nfupy;yhf;fs;kPJ jPtpukhd jhf;Fjy; njhLf;f
Vwj;jho 350,w;Fk; Nkw;gl;l mg;ghtp kdpjHfspd; capHj;jpahfj;Jld; Vida gzaf;ifjpfs;
kPl;fg;gl> nfupy;yhf;fspd; gza ehlfk; Kbtpw;F tUfpd;wJ.
(Nkw; $wg;gl;l jfty;fs; www.rediff.com,y; ,Ue;J ngwg;gl;lit. u\;ag; gilapdH
Nkw;nfhz;l jhf;FjypNyNa gzaf; ifjpfs; ,Ue;j fl;blk; Nrjkhfpg; ngUkstpyhNdhH
,we;jjhf 2004,y; nra;jpfs; ntspahfpapUe;jik Fwpg;gplj;jf;fJ.)
1997,y; ngUtpy; ele;jJ vd;d?
No one to Speak for dead Peru rebels
four adults and two children
- National Catholic report May 30, 1997-Editorial

1997 ,y; Ugf; mkU Gul;rpfu ,af;fj;jpdu;; (MATR) ngUtpd; yPkh efuj;jpy; cs;s
[g;ghdpa J}Jtupd; tjptpl ,y;yj;jpy; 72 Ngih gzaf;ifjpfshf;fp 126 ehl;fs; rpiw
itj;jpUe;jdu;. Vg;gpuy; 22> 1997 ngU ehl;Lg; gilapdH Nkw;nfhz;l jhf;Fjypy; xU
gzaf;ifjpAk; 2 gilapdUk; 14 NghuhspfSk; capupoe;jJld; ,e;j ePzl ; gzaf; ifjpfs;
ehlfk; epiwTw;wJ.
ifjpfspy; mNefkhdtHfis tpLtpj;jpUe;j epiyapy;> jq;fisf; nfhy;yNtz;lhk;
vdg; Nghuhspfs; nfQ;rpaNghJk; mtHfs; kpf mUfpy; itj;Jg; gilapduhy; Rl;Lf; nfhy;
yg; gLfpd;whHfs;. ruzile;j Nghuhspfs; jiyapy; Rl;Lf; nfhy;yg;gl;lij kdpjhgpkhdkw;w
kpNyr;rj;jdkhd nrayhfNt Clfq;fs; gy fUj;J ntspapl;ld. tajpy; Fiwe;j ,e;jf;
nfupy;yhf;fspy; mNdfu; mupjhfNt ghlrhiyf;Fr; nrd;wpUe;jdu;.
xU gjpd;ktaJ (teenage) ngz; Nghuhsp jdJ tPl;L epidTld; ,Ue;jjhfTk;> ,utpy;
mtsJ mk;khit $g;gpl;L mOjjhfTk;> gpd;du; Vida nfupy;yhf;fs; ,g;ngz;iz
gzaf;ifjpfSld; ciuahLtijj; jLf;Fk;Kfkhf KyhtJ khbapy; epWj;jpajhfTk;
tpLtpf;fg;gl;l xUtH njuptpj;jhu;.
Nghuspfspy; xUtu; jhd; kPzL ; k; fhl;Lf;Fg; Nghf tpUk;GtjhfTk;> kw;nwy;yhtw;iwAk;tpl
jdJ czHitNa ,oe;Jtpl;ljhfTk; tUj;jj;Jld; njuptpj;jijAk;> ,uz;L ngz;
nfupy;yhf;fs; Nrhg; xg;guhit (Soap Operas) njhiyf;fhl;rpapy; ghu;g;gjpy; Mu;tKld;
,Ue;jijAk;> ,d;ndhU Nghuhsp jdf;F tptrhak; nra;ar; rpwpa epyNk Njit vd;W
Fwpg;gpl;lijAk; tpLtpf;fg;gl;l gzaf;ifjpfs; njuptpf;fpd;wNghJ Ugf; mkU Nghuhspfs;
kPJ mDjhgNk Vw;gLfpd;wJ.

lll
 09th May 2007
DARK AGE DIRECTOR
A wise man once said, there are three
categories of discerning humans. Imagine the
three types
watching a puppet show. The first type would
look at the puppets, see them moving, and
assume they moved by themselves. The
second type, more perceptive, would look
beyond the puppets and attribute their
movement to the strings. Few would realise
that there is a hand beyond, which
orchestrates the whole performance.
Assumption
To meet one of the most brilliant men in Sri
Lanka, someone whose every idea is well worth
grasping, someone whose take on the life, times
and tragedies of this era is phenomenal, and
yet realise that, with all this, he only falls into
the second discerning class – of the strings only
assumption – is slightly disappointing.
Let’s leave that aside however for the moment,
and delve into Dharmasiri Bandaranayake –
actor, playwright, eminent theatre and film
director. This article should, if one were to do
justice to all he said, read like a Thomas Hardy
novel – dark, somber, uncompromisingly
realistic and sad.
Whether Bandaranayake became an artiste
because his childhood was rather disturbing or
whether he was born that way is difficult to
ascertain. At any rate no one else in his family
was artistically inclined, his three siblings
included. His father was, at one point, a wealthy
businessman. However, just before
Bandaranayake’s birth, his downfall had begun.
“This is very difficult for a middle-class family
to handle, and it was into this backdrop that I
was born,” he said.
No childhood love and affection
Bandaranayake didn’t get the love and affection
children crave, or at any rate, his parents didn’t
demonstrate it even if they felt it. “My mother
was mentally unsound but at the time, when
you’re young, you can hardly figure this, so I
simply thought she didn’t love me.” His first
memories are lonely and it is an emotion he
seems to have carried into adulthood. “Perhaps
I got into drama to get over this I lived in and
through the characters I created, and used them
to express myself.”
The fact that he studied at Horana Vidyarathna
Vidyalaya, which was well-known for producing
outstanding school dramas at the time and
always came first at school drama festivals, also
helped. His first acting stint was in Hemasiri
Liyanage’s White Elephant.
“Some people with a bad childhood become
criminals or otherwise problematic to society.
Fortunately I had my art, and this became a
release,” Bandaranayake said.
It later developed into a release not only for his
emotional disappointments, but also for the
political and social unrest he felt, and continues
to feel, as a result of the turmoil of our times.
“The five plays I have done so far, including
Trojan Women have been political in nature,
and have depicted the downfall of each era.”
All of them were very highly acclaimed though
almost everyone of them also brought about
much of criticism and death threats, on
Bandaranayake’s life.
Debacle
The first of these, titled Ekadipathi dealt with
the rise of Marxism following the debacle that
left a lot of youth unable to face the challenges
of globalisation. “The “Sinhala Only” movement
was the biggest disaster to happen during the
time (the late 70’s). A whole generation has
suffered as a result. The JVP, to which I once
belonged, was a direct result of this,”
Bandaranayake said. He however got tired of
the JVP after getting into “class three.”
“They didn’t cater to my needs, and didn’t have
what I was looking for. That was then. As for
now, lets not even talk about the JVP and their
cold political manoeuvers!” Bandaranayake
said, they, together with all other politicians,
were self-serving. “To become a politician is to
lose your sensitivity. Politicians are out to fill
their coffers which are why the country is where
it is today.” Artistes, according to him, cease to
be artistes the minute they take to politics,
because it results in a mind-numbing de-
sensitisation.
He lamented the complete lack of freedom of
expression today, together with a dearth of
those who stood up for what they believed in.
“The country is an intellectual desert, people
seem to be half-dead, because they have been
beaten down so much. Before things get better
though, they will have to get even worse.”
Death threats
Dharmasiri was among the many artistes to
receive death threats, following Trojan Women.
That, together with the pathetic situation in the
country, led him to three suicide attempts.
“I believe I have had two births – one natural
birth and another, after I knocked on death’s
door and was made to turn back.” Asked why
he attempted suicide he said, “I went into this
depression and simultaneously decided my
time of death would not be decided by a man
with a gun, who wanted to shut me up”.
He decried the state of a country where death,
for so many people, came through a weapon
in the hands of a so-called human being. “We
talk about Buddhism, about a 2500 year history
– yet to me this is the most non Buddhist country
in the world. Buddhism and Nationalism are
showpieces for politicians and humbugs today.
If you ask me, Buddhism is still alive in India,
where the Buddha was born, where there is
respect for human rights and dignity and value.
Look around at society in Sri Lanka. Who
practices true Buddhist values like kindness,
compassion, equanimity and appreciative joy?
Certainly not most Buddhist monks let alone
the majority of people. The religion practiced
by many Buddhist monks today is either SLFP,
UNP, JVP or war and racism!”
Subtle imperialism
He feels however that there is more to the whole
sad scenario than meets the eye. “Globalisation
is subtle imperialism. Wars are created and
coordinated by global powers, backed by
multinational companies, who want to gain
control of the natural resources of countries.
To them it doesn’t matter who wins or loses.
They will establish regimes that cater to their
needs, pretend to support peace while
purporting war, and reap the goodies thereof.”
Bandaranayke has little hope for his generation
or that of his children. “I can only appeal to
people to try, for the sake of our grandchildren.”
So why is this wise man still in the second
puppet string category? He has solutions, or at
least questions – the answers to which can help
solve the dilemma in the world outside, but for
all his innate intelligence, one gets the feeling
Dharmasiri Bandaranayake does not seem to
be addressing the nagging questions and
conflicts within his own heart.
lll
 Sixth Year Anniversary
Performance of
THE TROJAN WOMEN
Sinhala translation of the Greek anti-war play by Euripides
Directed by Dharmasiri Bandaranayake
On the 25th Oct. 2006 at 7.00 pm.
at the Lionel Wendt Theatre-Colombo
in aid of the TrikonE Arts Centre

Dharmasiri Bandaranayake
Director - TrikonE Arts Centre
Limited tickets available at Lionel Wendt Theatre
Tickets priced at Rs.500/=, 200/=, 100

Information on the Play

Sunday Observer
Sunday 29th June

Language not a barrier 

Dharmasiri Bandaranayake’s
Trojan women makes impact on
Jaffna audiences
English translation of a Tamil review
by R. Krishnakumar in Jaffna
Nobody wins a war. But the war emerges victorious
in shattering human civilization and culture. Yet the
war has been persistent down the ages. Likewise
the resistance to it too has been there from the very
inception. Whether it is (fought) in ancient Greece
or Sri Lanka the war has given nothing but destru-
ction.
A scene from the play
The play The Trojan Women written by Euripedes
in 415 BC, brought out the tragic social issues
created by war.
Based on the plot of this play Dharmasiri
Bandaranayake has written a fine play in Sinhala to
suit the present day Sri Lanka. After having staged
this drama more than 50 times in the southern part
of Sri Lanka, he also staged this play recently at
Vembadi Girl’s School in Jaffna to enable the people
of Jaffna to see it. The play, which portrays the
atrocities of war in many dimensions, goes beyond
race, religion and creed and touches the feelings
common to all human beings.
In the Trojan war which had been prolonged for more
than ten years, all the males of troy ere killed and
the women left behind were taken as slaves. The
play begins while they were dragged with shackles
to the stage.
Time may change and the countries may differ but
the people who wage war are the same everywhere,
which Dharmasiri Bandaranayake brings out in his
play very well by making use of the techniques of
Brecht to suit contemporary Sri Lanka.
In the scene when the dead body of the prince was
handed over to Hecuba for the performance of the
last rituals (after the body being forcibly taken from
his mother and grandmother), Dharmasiri
Bandaranayake shows his creative talents by
making the “The Trojan women” hand over the blood
stained clothes one by one to the weeping Hecuba,
who takes them and spread over the dead body.
Nothing would happen by making the audience to
become overwhelmed by emotions or rather worked
up by emotions. On the contrary, if a creative work
makes a person to think soberly, it achieves a lot
which Dharmasiri Bandaranayake does through his
play.
Basically the drama is a tragedy which I thought as
going to be filled with sounds of melancholy. But
after seeing it my view has changed. Just like a
waterfall that flows towards the river the play goes
on naturally focusing on the inner heart.As the drama
is written in Sinhala I entered the theatre thinking
how I was going to understand it. But after seeing it
I realised the language did not stand as a barrier.
What can express the destruction of war more
effectively than the body movements? So even
looking at it from this angle Dharmasiri Bandaran-
ayake has succeeded in producing a good play.
This play being a work of art, it is important to see
what makes it a great play. The blending of sound,
light and music in a creative way backed up by a
fine set of characters with bodily and facial
expressions have made it a great play. Although all
the characters in the play have done their part well.
Anoja Weerasinghe who played the role of Hecuba
was extraordinary. Even at the last moment, after
losing everything and when Hecuba was about to
be taken as a slave by her enemies with shackles
on her shoulders, she carries it with the indomitable
look of a queen.
There was a discussion after we had seen the
drama. Everyone who took part in it exchanged their
views freely with thawed hearts.
Dharmasiri Bandaranayake asked everyone to come
out with their opinions openly. He also said that on
the way to Jaffna he saw the city of Troy at
Chavakachcheri.
World Socialist Web Site www.wsws.org
The lasting significance of
The Trojan Women
By Piyaseeli Wijegunasingha
3 April 2000
Back to screen version
An adaptation in Sinhala of Euripides’ play, translation
by Ariyawansa Ranaweera, script by Ananda
Wakkumbura and Dharmasiri Bandaranayaka, directed
by Dharmasiri Bandaranayaka
Euripides (485-406 BC) is considered to be the most
socially critical of all the ancient Greek tragedians. The
Trojan Women (415 BC) has long been considered an
innovative artistic portrayal of the Trojan War and a
penetrating depiction of the barbaric behaviour of
Euripides’ own countrymen, the Athenians, towards the
women and children of the people they subjugated in
war.
In The Trojan Women we also see portrayed in a rather
pronounced way, an ancient people (to be more specific,
women belonging to an ancient people), led by the
circumstances they find themselves in, to question their
faith in the traditional pantheon of gods. For instance we
see Hecabe, the Queen of Troy, who has become a
prisoner of war, questioning faith in the gods as well as
man’s dependence on them. The futility of expecting
wisdom and justice from the gods is expressed again and
again.
Euripides’ play reveals how an ancient people is brought
to recognise the naiveté of the belief in a pantheon of
gods with complete power over the destinies of men. The
gods are spoken of and portrayed in The Trojan Women
as jealous, head-strong and capricious. These facts
themselves would have disturbed the more politically
conservative contemporaries of Euripides, and it is well
known that he was looked upon with mistrust by ruling
class ideologues of his day.
Whatever the beliefs expressed by the characters
Euripides created, and the beliefs he himself held, man
had still to travel a long way before becoming conscious
of the fact that he had the social ability to become master
of his own fate. What was expressed in the belief in the
gods held by the Greeks of the heroic age, as well as of
the classical age, if not the relative “helplessness” of
social man before nature, including society?
The Trojan Women, like any other significant literary
work, in an artistically powerful and memorable manner,
adds certain grains of truth to human knowledge: that
man caught in the midst of the contradictions of war,
whether it be archaic tribal war or wars created by ruling
classes in modern society, becomes the perpetrator of the
most ruthless violence on his opponents, especially on
defenceless women and children.
Anoja Weerasinghe plays Hecabe in Dharmasiri
Bandaranayaka’s production. It is well known that her
house, with all her possessions of artistic and cultural
value, was burned to the ground by goon squads
employed by unscrupulous politicians in the recent spate
of post-presidential election violence in Sri Lanka.
Reading the statement Weerasinghe made to the press
regarding this incident one feels that it carries traces of
her personal understanding of Euripides’ play .
Emphasising that we are not in agreement with her
politics, we would like to quote the following passage
from her statement to the press:
“Why did they harass me in this way? It is simply because
I am a woman. Maybe they thought that I am a single
woman. They showed their power, truly their cowardice,
to an unarmed and innocent actress. I have spoken out
about the intimidation faced by women. I have appealed
for the creation of a society that is safe for women ... and
I have urged lawmakers to formulate a legal framework
that will make this possible ... ”
It is clear that particularly the phrase, “I have appealed
for the creation of a society that is safe for women,”
expresses the agony long undergone by a woman who is
also a professional artist, due to social suppression as
well as oppression. Though Anoja Weerasinghe believes
that a society safe for women can be created by urging
lawmakers to formulate a legal framework, the only
society that can ensure safety for women is one
consciously organised along socialist principles—where
not only the public ownership of the means of production
historically necessary for the social liberation of women,
but also all the necessary resources for the all-sided
spiritual development of mankind, will be available.
The capacity of The Trojan Women to suggest powerfully
and vividly the destruction wrought on women in general
as a result of war rests to a great extent on the fact that
the characters differ from each other in their social
situations as well as in their personalities.
Even if one prefers to refrain from suggesting that in the
aftermath of the Trojan War some women suffer more
than the others, it must be stated that the Trojan slave
women (in the play’s chorus) continue to bewail their
inability to know the fate which awaits them, whereas
the women of the aristocracy are able to learn their
respective destinies from the messengers who arrive from
time to time from the enemy camp. The slave women
bemoan not only their future, about which they are in the
dark, but also their being severed from the environment
and the life which they have got used to even as slaves.
That the Trojan slave women are subjected to even more
degrading and bestial treatment by the enemy is clearly
brought out in Bandaranayaka’s production.
The leaders of the Greek army consider the aristocratic
female prisoners “prestigious” spoils of war to be divided
amongst themselves. The very fact that they are
noblewomen seems to add to the “glory” of the men who
are able to carry them home as part of the loot won in
war.
Hecabe, the Trojan King Priam’s widow, is to become
the slave of Odysseus, a man she abhors. Hecabe’s
younger daughter Polyxena is sacrificed at the tomb of
the Greek hero Achilles as an offering to his corpse. Even
though Polyxena does not appear on stage, what we learn
of her creates in the spectator’s mind the image of a young
girl of child-like innocence and purity.
Andromache is the widow of the renowned Trojan hero
Hector, fallen in battle. Hector is Priam’s and Hecabe’s
son. Andromache, surrounded by Greek soldiers, appears
before the Trojan women prisoners’ camp clutching
Hector’s small son to her body. In lamenting her
misfortune, she reveals that her life’s aim was to be a
dutiful wife whose praises would be sung by the people:
Andromache: “I aimed at a glorious name and though I
won this in generous measure, good fortune eluded my
arrow. All the accomplishments that bring credit to a
woman I strove to put into practice in the house of Hector.
In the first instance in the matter where a woman gets a
bad reputation (whether she attracts criticism or not),
namely not remaining indoors, I suppressed my longing
and stayed in the house. And inside the house I would
not tolerate the idle gossip of women but was content to
have in my mind a teacher I could trust.... And it was
because my reputation for this reached the ears of the
Greek army that my doom was sealed.”
Andromache has been chosen by Neoptolemus to be his
concubine and she faces the dilemma of a woman who
had been a devoted wife now forced to share the bed of a
stranger—one of the enemy who had killed her husband
and laid Troy to waste.
Andromache: “Now if I dismiss any thought of my
beloved Hector and open my heart to my new husband,
it will seem that I have betrayed the dead. But if
alternately, I turn away from him in loathing I will earn
the hatred of my own master.... Not even hope have I,
something that is left to all mortals, nor do I delude myself
that fortune will show me any kindness, though, even
fancies like this bring comfort.”
The women waiting at the camp which is their temporary
dwelling as well as their prison, until their fates are finally
sealed, descend deeper and deeper into the depths of
misery as they are exposed to the barbarism of the enemy.
This situation comes to a head when Talthybius, the Greek
messenger, returns from the enemy camp to say that the
council of war has decided to execute Hector’s and
Andromache’s small son, who if he lived could become
a danger to the Greeks.
Hecabe’s elder daughter Cassandra had been the maiden
priestess of Apollo. Talthybius reveals that Cassandra had
been “chosen as a special prize by the Greek king
Agamemnon to warm his bed in the hours of darkness.”
In the Sinhala version of The Trojan Women, Cassandra
captivates the imagination of the audience as a sexually
inhibited young woman whose perceptiveness and
intelligence are of an extraordinary brilliance. Cassandra
and Helen stand out as the characters that hold most
appeal for a modern audience. Helen’s situation is also
distinguished by the fact that she is the only woman
targeted by the Trojan women themselves for hatred and
condemnation. They accuse her of being the cause of the
war that has brought death to all the Trojan warrior heroes
and has culminated in the downfall of Troy itself. She is
also considered to be the bane of her own kinsmen—the
Greeks.
In the eyes of the Trojan women, including Hecabe, Helen
lacks “womanly virtues” and is completely bereft of
refined sentiments. Her renowned beauty is a snare that
she calculatingly and opportunistically utilises to
manipulate men like Paris in her insatiable quest for
sensual pleasures and luxurious living.
Helen, challenging Hecabe’s view and defending herself,
traces, in a manner that would have seemed logical to
Athenian theatre audiences of the day, the source of the
calamity in the whims and fancies of headstrong and
capricious gods and goddesses. Anyway, it is significant
that in doing so she blames the goddess of sexual love—
Aphrodite—for her own elopement with Paris. Of course,
Helen’s claim is in accordance with the mythological
sources from which Euripides drew his material—but this
does not necessarily prevent the modern spectator from
concluding that Helen is justifying her elopement with
Paris on the basis of having fallen in love with him:
Helen: “The man ...... whether Alexandros or Paris is the
name you wish to give him, had a powerful goddess at
his side when he came. This was the man you left behind
in your home, you worst of husbands and sailed away
from Sparta to the land of Crete. So much for that matter.
Next I will put a question not to you but to myself. Why
was it that I left your house to go away, quite in my right
mind, with a stranger, betraying my country and home?
Punish the goddess and show yourself stronger than Zeus,
who rules over the rest of the gods, but is that lady’s
slave; the blame is not mine (emphasis added).
Chorus leader: ... “She speaks with fair words from a
foul heart; now that inspires fear.”
We see Hecabe herself though in a different context
admitting the power of sexual love:
Hecabe: “There is no lover who does not love forever.”
The Helen we see in Bandaranayaka’s production of The
Trojan Women strikes a chord of deep sympathy within
the modern spectator through her honest and faithful
endeavour to understand herself. Due to this the spectator
also comes to recognise in Helen a precursor of many a
tragic heroine portrayed in modern literature—especially
in the classical novel—who, due to sexual love outside
wedlock, is prompted to turn her back on the institution.
That Helen had not been happy in her marriage to
Menelaus is revealed not only by what she says, but also
by the male chauvinistic and over-bearing attitudinising
of Menelaus when he meets her outside the women
prisoners’ camp.
It is clear Helen has not been happy in Troy either—
especially during the years Troy has been under siege by
invading Greeks. Helen, when she appears in front of
the women prisoners’ camp, seems not only estranged
from the Trojan women, she is also rather aloof from the
destruction wrought on the Trojans by the invaders. The
fact that her attire is different from that of the other women
prisoners shows that she is being treated deferentially by
the Greek soldiers. Although Hecabe pounces on the fact
that Helen is “showily” attired as further proof of her
moral laxity, the audience, which learns that Helen had
been forcibly taken in marriage by another Trojan leader
after Paris’s death, realises the absurdity of Hecabe’s
accusation. In the eyes of the spectator, Helen remains a
woman who manages to keep her head high in spite of
trying, painful and difficult circumstances.
It is clearly with the intention of bringing the play closer
to the present-day Sri Lankan audience that
Bandaranayaka has incorporated a group of soldiers
dressed in Sri Lankan armed force camouflage uniforms
into the play. These soldiers act as a part of the Greek
army and are shown harassing the women prisoners. The
prisoners, while justifiably denouncing the invaders, also
highly praise the merits of laying down one’s life for the
sake of the motherland.
In a context where Bandaranayaka has included soldiers
dressed in Sri Lankan army uniforms those declarations
can all too easily be interpreted as a defence of the
program of national separatism.
The remarkable success of Bandaranayaka’s production
is due not only to the fact that it powerfully conveys the
essential content of Euripides’ work, but also because
the staging satisfactorily accomplishes the difficult task
of generating in the minds of the spectators the mood
and atmosphere contained in the original play.
This success is due in large measure to the fact that
Bandaranayaka has been sensitive to something that had
to be taken into consideration if a play like the The Trojan
Women, which belongs to the Western classical tradition
of drama, was to be successfully staged in a country like
Sri Lanka. He sought the cooperation of actors and
actresses as well as theatre technicians with a knowledge
of the latter tradition. In other words, the director has
engaged artistic personnel from Western-style theatre
groups in Sri Lanka to complement the creative dramatic
talent of the Sinhala theatre. In Bandaranayaka’s
production of The Trojan Women, the choreography of
Jerome L. de Silva has contributed much to the success
of the production.
Bandaranayaka was judicious in the selection of the cast
too, and all the actors and actresses—some from the
Western-style theatre—perform their respective roles
with keen artistic comprehension of the individual
characters as well as of the particular situation portrayed
in the play.
Special mention should be made of Meena Kumari Perera
who kept the audience almost spell-bound with her
Cassandra—clearly a challenging and exhausting role,
lucidly and exhilaratingly performed. Her performance
reveals an artistic sensibility that demands recognition.
lll
Jehan Aloysius’ Menelaus also deserves mention.
Aloysius, in the magnificent robes of a Greek aristocrat
keeping up the regal mien, managed to reveal the essential
weaknesses of the character too: a man whose craving
for a woman provided neither the loving understanding
nor the social protection she longed for. Junita Beling’s
rather low-keyed performance as Helen provided an
attractive contrast to the other female characters.
The music is by Rukantha Gunathilake, and here too it is
clear that Bandaranayaka has scored with his willingness
to break new ground.
The Trojan Women has been criticised as too loosely knit
and lacking cohesion. The action takes place entirely in
the camp where the women prisoners are kept. Soldiers
and messengers continuously arrive with messages and
tidings from the Greek camp and the council of war being
held there. The audience is made to understand that the
Greek ships are ready to set sail for home. The action
more or less consists in the women, one by one, being
taken to the enemy ships. Therefore the very structure of
the play gives it the appearance of a string of episodes,
each coloured by the specific personality of the woman
prisoner who figures prominently in it.
It should be emphasised that the structure in no way
detracts from the basic unity of the play, which lies in its
main theme: the devastation created by war in the lives
of women and children.
 CENTRE FOR PERIYAR STUDIES
BHARATHIDASAN UNIVERSITY
PALKALAIPERUR, TIRUCHIRAPPALLI - 620 024,
Tamilnadu, India.

Porf. S.V. Rajadurai

Head

It was a great privilege to meet Mr. Dharamasiri Bandaranayake, one of the outstanding personalities in the field of
performing and visual arts in Sri Lanka. It was sometime at the end of 2004 I decided to visit Sri Lanka to meet my old
friends. I traveled a great distance from Colombo to Kandy, Batticaloa, Trinco and Jaffna and left that beautiful but
tormented island just a few days before it faced the wrath of tsunami, as if the nature had decided the destructions
wrought by the ongoing war was not enough to persecute its inhabitants. I had already heard of Mr. Dharmasiri,
through the theatre reviews in Sri Lankan journals and dailies and also from the conversations with Dr K.Sivathamby
and Dr Maunaguru. There was also in me a vague memory of the review of his film by Regi Siriwardena (in Lanka
Guardian, I believe) whom I always considered a great teacher. Whichever Tamil friends I spoke to, he or she always
insisted that it is a ‘must’ for me to meet Mr. Dharamasiri. Every one of them offered to introduce me to him. But he
spared them the trouble. He drove all the way down to meet me in my host’s place near the port in Colombo. I never
expected to meet someone so unassuming and so un self-conscious. His simplicity was striking. He was a little shy
of talking about himself. May be his discomfiture in communicative English, I thought for a moment. No, he was man
full to the brim. I am a great lover of theatre and I had just seen ‘Medea” as interpreted by a leading British Theatre
Company. It was quite disappointing and at some points very vulgar. I never had an opportunity of watching Mr.
Dharmasiri’s ‘The Trojan Women’ on stage. The best I could do was to watch it in CDs and then DVDs. The powerful
impact it could make was visible when I showed just a few scenes from it to an enlightened audience in Tiruchirapalli
in Tamil Nadu. I and my friends had organized screening of some of the documentary films of Trikone Art Centre of
which Mr. Dharmasiri is the brain. It suddenly dawned in our heads why the pro-war chauvinists in Sri Lanka are after
the throat of Mr. Dharmasiri.

I had the privilege of watching his Sinhala version of Sartre’s “Men without Shadows’ at Colombo. I was personally
invited by him. Throughout my adult life Sartre has remained a great inspiration to me and I have read almost all his
plays translated into English. Mr. Dharmasiri had transformed the French play, set in the background of Nazi occupation
of France, into something that had an immediate resonance in the war torn Sri Lanka. It brought out the ugly, immoral
aspect of all wars.

The audience in Tiruchirapalli could watch only two of his documentary films: ‘Koothu’ and ‘Drums of Sri Lanka’. It
was such an aesthetic pleasure. But most of us felt ashamed of not having known such great artistic treasures
created and preserved for posterity by the Sinhala and Tamil peoples. We remained mesmerized by the captivating
rhythms of Sinhala drums and by the nimble but intricate movements of the Tamil Koothu artists. The mask dance, I
alone had the privilege to watch. The artists breathe life into the masks which remain ever watchful of you. All of us
are indebted to Mr. Dharmasiri for this marvelous journey into the creative world of Sinhala people and also of their
Tamil counterparts. It is the universality of the art that binds us all together as Homo sapiens, fated to toil, suffer and
enjoy collectively in the only planet we have.

S. V. Rajadurai
 “Art cannot be used
to indoctrinate”
It is more about appreciation, says Sri
Lankan documentary filmmaker
Dharmasiri Bandaranayake
TIRUCHI: “We strongly
believe that the impact of
theatre would be effective
enough to spread the spirit of
anti-war amongst people. Sri
Lanka would get back its
serenity very soon,” says
Dharmasiri Bhandaranayake,
one among the many Sinhala
filmmakers, who voice their
protests through stages and
screens.
Amidst the rumblings of war in
the country, his is a hopeful
voice of peace. Sri Lanka would have been a
serene multicultural country, but for the ethnic
strife, he says. Despite two murder attempts
on him, his films and documentaries don’t
seem to end their criticisms of the ongoing war.
When his film career, wherein he started as an
actor, was on the upswing, he quit filmmaking
and took to documentaries to cover the horror
of war.
His maiden documentary ‘Echoes of War,’
made in 1987, earned him quite a number of
admirers. “It talked about the dilapidating
cultural monuments, one of the casualties of
incessant war. We forget to protect the nation
in an urge to protect the races,” he says.
The country, he observes, has been fast losing
the coherence of its multicultural history. His
six set of documentaries are seen as an attempt
to reconnect the lost dimensions of the culture
shared by the Tamil and Sinhalese. Even as a
host of his documentaries including
‘Kooththu,’ ‘Vadda Kalari,’ ‘Ravanasen’ and
‘Drums of Sri Lanka’ rocked the country
portraying the in-depth cultural similarity
between the Sinhalese and Tamils, Mr.
Bhandaranayake came up with a play that was
screened over three times in LTTE-dominated
areas, making him the only
Sinhalese director to screen his
works in that part of the
country in the last 30 years.
‘The Trojan Women,’ the Greek
play, originally written by
Euripides, was tailored to
portray the desolations of the
innocent victims, especially
women and children. It was
screened across the globe, with
translations in English and
Tamil.
While majority of the artistes use theatre as a
platform to voice their protest against war, the
pro-war groups who have been using arts as a
propaganda medium begun to retreat. “They
understood how inadequate it was to use
theatre and music as a medium to propagate
war. Art is more about appreciation and cannot
be used as a medium to indoctrinate,” says Mr.
Bhandaranayake who was on a cultural tour
to South India recently.
Expressing concern over the destructions
caused by the war, he says that the situation
has only worsened down the years. “We saw
no improvement even during the cease-fire
period. Now the displacement has reached
tragic proportions. Cultural interventions
through theatres and street plays are oppressed
ruthlessly,” he says.
S. Aishwarya
- Courtsey: The Hindu, 6.8.2007
A New Documentary Series
From Dharmasiri Bandaranayake
By Prasanna Ratnayake

17 July, 2007
Countercurrents.org
E.J. Hobsbawm & T.O. Ranger have shown in The
Invention of Tradition (Cambridge University Press,
1992) that each post-Independence country is keen
to establish their unique culture as it emerges from
the shadows of colonialism. In Sri Lanka, this re-
invention process focused exclusively on Sinhala
culture and ignored the many other traditions which
had contributed to the nation’s identity. This es-
trangement, quite intentional, means that the coun-
try as a whole has been losing the coherence of its
interlocked cultural histories; a process which un-
derlies other mortal antagonisms.
The establishment of ‘authentic’ Sri Lankan
traditions has some idiosyncratic roots. In the late
19th century, Colonel Henry Steele Olcott, an Buddhist folk tradition. These gentleman scholars
American, visited the island and took it upon saw themselves as serving a noble mission.
himself to make some contributions to local culture.
Professor Ediriweera Sarachchandra was a
He invented a Buddhist flag for the Sinhalese,
Professor of Literature at Peradiniya University. A
taught them to sing carols with a Buddhist message
cultural critic and a specialist on Indian dramaturgy
and introduced Vesak cards on the model of
and the work of I.A. Richards and T.S. Eliot; Eliot’s
Christmas cards. Like many of our official
criticism of secular society resonated for Professor
‘traditions’, these rituals and ritual objects were
Sarachchandra. As Eliot was committed to the
established within the past 100 years.
Catholic Church, so Professor Sarachchandra was
In 1948 Sri Lanka was granted Independence, a year committed to the Sinhala cultural project. In 1952
after it had been won in India. The two nations went his authoritative book Sinhala Folk Drama was
about rediscovering and re-legitimating their published by the Ministry of Cultural Affairs. It
cultures in very different ways. In India, the established the orthodoxy, the traditions and forms
multiplicity of traditions inspired wide-ranging which would thenceforth be understood as the sole
acknowledgement of these diverse contributions. In ‘authentic’ expressions of the nation’s culture.
Sri Lanka the complexity of its interrelated cultures Although Professor Sarachchandra had carried out
was reduced to a narrow Sinhala Buddhist his research in all regions of the country, his book
representation of the country’s heritage, thereby intentionally subsumed all non-Sinhala forms as
suppressing the Tamil, Muslim, Berger and Malay elements of the Southern tradition.
traditions which had survived the amnesias of the
Professor Sarachchandra then wrote two stage
colonial period.
plays, Maname and Sinhabahu, based on his
This politicising of Sri Lanka as a monocultural researches. To this day these dramas are performed
authoritarian state was initiated by S.W.R.D. over and over again, always greeted as classic works
Bandaranayake in 1956. There were many of our national heritage — always understood as
intellectuals behind this project to Sinhalize the the Sinhala tradition.
country’s history and establish the parameters of a
Theatre Education, this set of documentary films
nationalist culture. Two of these ideologues behind
from Dharmasiri Bandaranayake, addresses the
the throne, Professor Sarachchandra and the famous
discrimination and exclusion at the core of this post-
writer Martin Wickramasinghe, produced
Independence political manoeuvring to establish
influential theories and books about the Sinhala
our ‘traditions’. But these films are not just about
the theatre. They open a new act in our social,
political, cultural and ethnic discourses by
reconnecting to lost dimensions of our shared
cultural legacies. The following notes indicate some
aspects of what Dharmasiri reveals in these
documentaries.
Kooththu and Kooththu Workshop
Kooththu is the traditional theatre of the Tamil
community of Sri Lanka, rich in colours, gestures
and rhythms. There are many styles in Kooththu
and it is a narrative theatre that is performed all
through the night in the Vadda Kalari, (round stage)
in the villages. The performers dance and sing
around the Annaviyar and the Sabaiyor who are in
the centre of the Vadda Kalari. Playing maththalam
and sallari and supporting the performers with
pinpattu (background singing), The audience sits
around the
Vadda Kalari.
According to Dharmasiri, the late Prof. S. Viththian-
anthan modified the traditional Kooththu, and in
the process of modification he re-shaped Kooththu
into a proscenium stage with Annaviyar and
Sabaiyor positioned in front of the proscenium stage
of the auditorium. He used modern lighting and
introduced traditional instruments such as
savanikkai, udukku and sanggu with maththalam
and sallari and made changes in costumes, make-
up and music. Students of Peradeniya University
took part in this modification process of the late Prof.
S. Viththiananthan in the 1960s and Prof. S.
Mounaguru who was at that time an undergraduate
of the same University, not only played the major
role in it but also composed the script with the
guidance of the late Prof. S. Viththiananthan and
Prof.K. Sivathamby. Before the making of this
documentary, only one Sinhala commentator,
Professor M.H. Gunathilake, in his two-volume
Kooththu (2000), had investigated this element of
our overall cultural heritage. These two films on
Kooththu, give this traditional dance-drama the
recognition it deserves.
Ravanesan
The story of Ravanesan revolves round Ravanan’s
struggle to keep up his stature of heroism in the
face of crisis. Ravanesan portrays the sufferings and
struggles of good-hearted people who are trapped
into the war machine. The abduction of Seethai,
followed by the message from Raman and the
manner in which it was conveyed to Ravanan by
the messenger Anggathan, posed a challenge to his
heroic qualities and leads to his tragedy. It is also
the tragedy of the people around him.
In the 1960s, the late Prof. S. Vithiananthan inspired
by the creative work of the late Prof. E.R.
Sarachchandra in the Sinhala theatre took
Vadamody and Thenmody kooththu styles of
Batticaloa for his Kooththu revival and modified it
to fit into the proscenium stage for modern
audience, Dharmasiri noted. Ravanesan is a re-
creation by Prof. S. Mounaguru. In 2003, when
Dharmasiri arranged to stage the play at the Lionel
Wendt Theatre, this aroused the enmity of the
Sinhala fundamentalists and death threats were
issued to Dharmasiri and the others involved in the
production. It had to be stopped.
Traditional Drums
The Sinhala nationalist project was applied to music
as well as to dance and drama. The authority in this
instance was C.deS. Kulathilake, who produced his
Jana Sangeetha Siddhantha (Theory of Folk Music)
in 1984. Although he too had travelled, collected
and documented the music of many communities,
this book again reproduced only those from the
Southern Sinhala region, thereby contributing to the
obfuscation of any other ethnicity and religion.
Kathakali and Bhangra
Theatre Education is not limited to dance-drama
and marginalised ethnic traditions in Sri Lanka. It
also covers the Indian traditional dance form,
Kathakali, and the current Europeanised Punjabi
music known as Bhangra. These films explore back-
ground, technical production and the nature of their
music and dance forms.
Unsettling Memories
This film, an Indian play made with the Aruvani
community, deals with another tradition of South
Indian drama, so much more inclusive than that of
Sri Lanka. The South Indian theatre’s capacity for
embracing the wider social realities of its audience
— political, practical, generational — could be an
inspiration and a model for the directions which a
liberated Sri Lankan drama might pursue.
Doothikavo (Mission Everlasting)
This film is about a student drama produced at the
Holy Family Convent in Kaluthara. The young
people had produced a play bringing together two
recent news stories which had affected them: the
experience of Rachel Corrie, the American girl who
went to Palestine and was killed there, and the siege
and slaughter at the school in Beslan. The students
wrote a play within a play, staging the Corrie story
as a drama being prepared in the Russian school,
playing Beslan children rehearsing their perfor-
mance of the story from Palestine. After their
capture by the Chechen guerrillas, the Sri Lankan/
Beslan children keep their spirits up by continuing
to work on their Palestinian drama.
This play, written and performed without any
guidance or contribution from the Sri Lankan peace
industry, fascinated Dharmasiri and his
documentary includes reflections by the children
and teachers involved. This extraordinary anti-war
intervention, the first for many years, again attracted
the wrath of the Sinhala Buddhist fundamentalists.
Death threats were sent to the children and to the
adults who had worked with them. The play was
stopped.
Method and Significance
Compared with European producer directors,
Dharmasiri works with simple equipment in a style
more like guerrilla or Raindance filmmaking than
broadcast documentary. Although the economy of
his method is appropriate to the material and
environments he is dealing with, his technical
expertise and personal skills deliver a sophisticated
set of films.
Dharmasiri worked on the Theatre Education series
over a period of 4-5 years. The Ceasefire Agreement
enabled him to move around the country, to record
dance-drama from the North and East and to
rediscover and emancipate some of our hidden
traditions. Beyond its contribution in the domains
of drama and dance; this series’ widening of our
cultural spectrum, can enable new sociological
discourses and heal some of the fractures in the
nation’s knowledge and recognition of its diverse
and unique treasures. Significantly, the trilingual
subtitles enable all Sri Lanka’s to connect to these
important films.
Sri Lanka’s political problems cannot be adequately
understood without recognising the decades of
systematic discrimination and exclusion from our
cultural life of our non-Sinhala heritages.
Dharmasiri Bandaranayake has made it a personal
responsibility to recover and re-present aspects of
our true traditions essential to the forging of a
culturally coherent and liberated future for Sri
Lanka.
© Prasanna Ratnayake

Documentaries and Feature Films

of Dharmasiri Bandaranayake
01. Sarasvathie Pooja - Dance programme with Music ( 8 minutes )
02. Kooththu - Sri Lankan Tamil Traditional Dance Drama -
Introduced by Prof. K. Sivathamby - Tamil (22 minutes with English subtiltled
03. Drums f Sri Lanka - (English - 22 minutes.)
04. Nonchi and Kinkini Kolama - Traditional Sinhala Folk Dance. Introduction in English
05. Kathakali - Traditional Indian Dance Drama. 21 minutes -
Tamil version and English version.
06. ‘Troy has Fallen - but its massage endures’ - a documentary film about
The Trojan Women - Anti war Stage play Directed by Dharmasiri Bandaranayake -
16 Minutes with English subtitled.
07. Doothikavo (Mission Everlasting) Documentary film about Anti War school play -
30 minutes / Tamil and English version
08. Unsettlimg Memories - An Indian Tamil play -
Directed by Mangai - with English subtitled.( 01 hour and 18 minutes)
09. Kooththu Workshop - Sri Lankan Trditional Tamil dance workshop -
In Tamil with English subtitled. - 01 hour 38 minutes.
10. Ravanesan - Sri Lankan Tamil Trditional Dance Drama -
Directed by Prof. S. Maunaguru / 1 hour 58 minutes with English subtitled

1. Hansa Vilak - (Swan Lake) 120 minutes - Black & white 1980
2. Thunveni Yamaya - ( Third Part of the Night ) 120 minutes - Black & White -1983
3 Bawa Duka - (Sorrow of Exsistence - Part One) - 195 Minutes - Color
4. Bawa karma - ( Sorrow of Exsistence - Part Two) - 135 minutes - Color
 TAMIL INFORMATION CENTRE
&
VIMBAM

present

a collection of documentary films of

Dharmasiri Bandaranayake

20 October 2007

Trinity Centre
East Avenue, London E12