PROGRAM CONCEPTUALIZED BY S.JEYASANKAR AND COORDINATED BY T.THUSHIYANTHI OF DEPT. OF FINEARTS.
RENOUNED KOOTHTHAR OF SEELAMUNAI EXHIBIT THEIR ART AND SKILLS!!
Saturday, July 7, 2012
CEREMONY OF "WEARING BELLS" ON THE DANCING LEGS
PROGRAM CONCEPTUALIZED BY S.JEYASANKAR AND COORDINATED BY T.THUSHIYANTHI OF DEPT. OF FINEARTS.
RENOUNED KOOTHTHAR OF SEELAMUNAI EXHIBIT THEIR ART AND SKILLS!!
Saturday, May 12, 2012
Thursday, May 10, 2012
Theatre Bonds War-Affected People
Theatre Bonds War-Affected People
By Renuka Senanayake
BATTICALOA, Sri Lanka, Apr 17, 2001 (IPS) - An annual theatre festival in this north-eastern Sri Lankan city is helping bond local communities affected by the 18-year-old ethnic conflict in the Indian Ocean island nation.
The plays are staged by the Eastern University of Batticaloa, located in the city of that name, some 303 km north-east of the capital city Colombo.
A five-day theatre festival organised by the university late March, brought together academics and villagers -- a process that is also helping break down social barriers.
Once an exclusive university production, the festival now involves local communities.
"The need to involve the community in the festival has arisen because of the war. The villages have no space for such performances now," says S. Jeyashankar, who teaches in the university's Department of Fine Arts.
Batticaloa is close to the war zone in Sri Lanka's north and east, where Tamil Tiger rebels are demanding a separate home for the nation's minority Tamil people. Their violent campaign has claimed tens of thousands of lives.
The highlight of the festival this year was the staging of 'Ravaneswaran', based on the great Indian epic Ramayana.
However, unlike the original epic, which has its cultural roots in north India, Ravaneswaran portrays the demon king Ravana who ruled Lanka -- present day Sri Lanka -- in a sympathetic light.
The centrepiece of the Ramayana is the battle between the Hindu prince Rama, who symbolises good and Ravana, who personifies evil.
The Eastern University production was, however, based on a version of the Ramayana, which is popular in southern India, where the original epic is believed to have racial overtones.
Some scholars argue that the clash between good and evil in the Ramayana actually depicts the culture clash between the Aryan invaders of India and the original Dravidian inhabitants of the subcontinent.
The alternative version portrays Ravana as a tragic hero. Known as Ravaneswaran in south India, the demon king of Ramayana is shown here as a scholar and a king who is even respected by Rama.
The play is also a revival of 'Koothu', a traditional folk dance of Batticaloa. The drama is set to the 'Vadamodi' style of the 'Koothu' dance.
"I have tried to emphasise the struggles of Ravaneswaran. This part also shows the foolhardiness of war and moreover, that once trapped in war, honour and pride takes precedence over reason," says Professor S. Maunaguru, writer and director of Ravaneswaran.
"Two forms of Koothu are traditionally performed in Batticaloa. The 'Vadamodi' style shows influences from (India's southern) Karnataka (state), while the 'Thenmodi' shows influences from Tamil Nadu (in southern India and close to Sri Lanka)," he explains.
Koothu was found in the northern Jaffna peninsula region too. However, this has hardly survived there, its demise attributed to colonial British occupation. It is today often found in church pageants and is not performed as part of folk theatre.
"The reason Koothu has remained in Batticaloa is because modernisation has been slow in Batticaloa," says academic Kandiah Shriganeshan.
The drama festival was also representative of the different communities living in and around Batticaloa -- the Tamils, the Muslims, the Burghers and plantation workers of Indian origin.
The festival opened with a village theatre group staging the 'Parai Mela Koothu' -- the Koothu dance traditionally performed by the Pariyar community.
Sri Lanka's plantation workers, who were brought here from southern India more than a century ago by then British rulers of the subcontinent, staged the 'Kaaman Koothu' -- a traditional play and ritual among the plantation community.
The play shows the Hindu god, Lord Shiva going into a long period of meditation, during which there is no human reproduction on earth. Worried by this, the god and goddess of love, Manmathan and Raththi, try to distract Shiva by shooting flowers at him.
An angry Shiva kills Manmathan. But later, he yields to Raththi's pleas and revives her companion.
A more contemporary play -- 'Inraya Nilal' -- addresses the plight of the plantation community in Sri Lanka.
It tells how the Indian workers were duped by the British with promises of a bright future in Sri Lanka and the hardships they found here.
"This is the fist time in our history that a university has involved us in any activity," says plantation worker S. Prabakiran from Bogawanthalawa.
Four years ago, the plantation workers formed a cultural performance group, which brings together dramatists from the entire plantation.
The festival was first staged six years ago. The event is becoming increasingly popular among the local community.
"Universities are considered spaces for scholars and elite and are often isolated from the community. The cultural festival has helped break down these barriers," says Batticaloa University's Jeyashankar.
"It is now not only a space for lecturers and students but also for the community," he adds. (END)
By Renuka Senanayake
BATTICALOA, Sri Lanka, Apr 17, 2001 (IPS) - An annual theatre festival in this north-eastern Sri Lankan city is helping bond local communities affected by the 18-year-old ethnic conflict in the Indian Ocean island nation.
The plays are staged by the Eastern University of Batticaloa, located in the city of that name, some 303 km north-east of the capital city Colombo.
A five-day theatre festival organised by the university late March, brought together academics and villagers -- a process that is also helping break down social barriers.
Once an exclusive university production, the festival now involves local communities.
"The need to involve the community in the festival has arisen because of the war. The villages have no space for such performances now," says S. Jeyashankar, who teaches in the university's Department of Fine Arts.
Batticaloa is close to the war zone in Sri Lanka's north and east, where Tamil Tiger rebels are demanding a separate home for the nation's minority Tamil people. Their violent campaign has claimed tens of thousands of lives.
The highlight of the festival this year was the staging of 'Ravaneswaran', based on the great Indian epic Ramayana.
However, unlike the original epic, which has its cultural roots in north India, Ravaneswaran portrays the demon king Ravana who ruled Lanka -- present day Sri Lanka -- in a sympathetic light.
The centrepiece of the Ramayana is the battle between the Hindu prince Rama, who symbolises good and Ravana, who personifies evil.
The Eastern University production was, however, based on a version of the Ramayana, which is popular in southern India, where the original epic is believed to have racial overtones.
Some scholars argue that the clash between good and evil in the Ramayana actually depicts the culture clash between the Aryan invaders of India and the original Dravidian inhabitants of the subcontinent.
The alternative version portrays Ravana as a tragic hero. Known as Ravaneswaran in south India, the demon king of Ramayana is shown here as a scholar and a king who is even respected by Rama.
The play is also a revival of 'Koothu', a traditional folk dance of Batticaloa. The drama is set to the 'Vadamodi' style of the 'Koothu' dance.
"I have tried to emphasise the struggles of Ravaneswaran. This part also shows the foolhardiness of war and moreover, that once trapped in war, honour and pride takes precedence over reason," says Professor S. Maunaguru, writer and director of Ravaneswaran.
"Two forms of Koothu are traditionally performed in Batticaloa. The 'Vadamodi' style shows influences from (India's southern) Karnataka (state), while the 'Thenmodi' shows influences from Tamil Nadu (in southern India and close to Sri Lanka)," he explains.
Koothu was found in the northern Jaffna peninsula region too. However, this has hardly survived there, its demise attributed to colonial British occupation. It is today often found in church pageants and is not performed as part of folk theatre.
"The reason Koothu has remained in Batticaloa is because modernisation has been slow in Batticaloa," says academic Kandiah Shriganeshan.
The drama festival was also representative of the different communities living in and around Batticaloa -- the Tamils, the Muslims, the Burghers and plantation workers of Indian origin.
The festival opened with a village theatre group staging the 'Parai Mela Koothu' -- the Koothu dance traditionally performed by the Pariyar community.
Sri Lanka's plantation workers, who were brought here from southern India more than a century ago by then British rulers of the subcontinent, staged the 'Kaaman Koothu' -- a traditional play and ritual among the plantation community.
The play shows the Hindu god, Lord Shiva going into a long period of meditation, during which there is no human reproduction on earth. Worried by this, the god and goddess of love, Manmathan and Raththi, try to distract Shiva by shooting flowers at him.
An angry Shiva kills Manmathan. But later, he yields to Raththi's pleas and revives her companion.
A more contemporary play -- 'Inraya Nilal' -- addresses the plight of the plantation community in Sri Lanka.
It tells how the Indian workers were duped by the British with promises of a bright future in Sri Lanka and the hardships they found here.
"This is the fist time in our history that a university has involved us in any activity," says plantation worker S. Prabakiran from Bogawanthalawa.
Four years ago, the plantation workers formed a cultural performance group, which brings together dramatists from the entire plantation.
The festival was first staged six years ago. The event is becoming increasingly popular among the local community.
"Universities are considered spaces for scholars and elite and are often isolated from the community. The cultural festival has helped break down these barriers," says Batticaloa University's Jeyashankar.
"It is now not only a space for lecturers and students but also for the community," he adds. (END)
Sunday, May 6, 2012
ERNEST MACINTYRE: RENOUNED THEATRE PERSONALITY OF SRI LANKA
From Wikipedia, the free encyclopedia
Ernest Thalayasingam MacIntyre, (a.k.a. Macintyre, Ernest Thalayasingam), (26 Sep 1934 - ) is a Sri Lankan playwright of the English language, who has been active in the Sri Lankan English theatre for the last 50 years.Early years
MacIntyre was born in Sri Lanka on the 26 September 1934.Career
MacIntyre attended Peradeniya University where he was a Dramsoc member. During the 1960s, MacIntyre was hailed as the most prolific and successful of Sri Lankan playwrights in English. He was a member of the performing group 'Stage and Set', which presented established international plays as well as those written by him.MacIntyre is known for his absurd style, although Rasanayagam's Last Riot is written in a realistic mode. His plays were usually performed at the Lionel Wendt theatre in Colombo. During this time there was cross-pollination between the English and Sinhala theatres, primarily due to MacIntyre.
MacIntyre served in the Sri Lankan Air Force from 1961 to 1967, acted as the Director of the drama school at Aquinas University College in 1968 and 1969. From 1969 to 1973, he worked as UNESCO project officer.
In 2005, MacIntyre revived E.F.C. Ludowyk's He Comes from Jaffna in a production in Sydney, Australia, updating the script to reflect changes in social values. His version of this play, together with the scripts of Rasanayagam's Last Riot and He Still Comes From Jaffna, was published in the anthology Jaffna and Colombo. In 2009 Macintyre wrote " Antogone in Sri Lanka as IRANGANI " A tragedy of our times derived from the ancient play of Sophoclese. It was performed in 2010 at the Belconnen Theatre in Canberra and the Riverside Theatre, Sydney. It was translated into Tamil in 2011. In 2009 a Ph.D.Thesis on " Diasporic Longing And The Changing Contours of Resistance in The Plays of Ernest Thalayasingham Macintyre " was successfully submitted to The University of Madras by T. Sumathy.
Wednesday, February 29, 2012
Aanmaiyo Aannmai (Macho o Macho!)
Marappachi
presents
Aanmaiyo
Aannmai (Macho o Macho!)
ScriptV. Geetha
Direction]
A. Mangai
On Commedia dell’ arte
Commedia dell’ arte (comedy of skills) is a satirical form that is about social equality. It developed in Italy from the 12th – 18th centuries. The pleasure of comedy corresponds to our need to overcome fear – of death, of hunger, of lost control, of ourselves and each other – and so these themes are explored in the comic tradition. In our work together on Commedia dell’arte, Marappachi developed locally relevant character masks who could explore the world around them. When we present characters, we imagine the most extreme extent of their personalities and desires, and are true to that. The use of mask is at once a tool and a ritual of communication, opening a direct emotional channel between audience, performers, and masks. Mask happens on a grander scale than our everyday lives, relative to the great human and social landscapes that art must explore. It is this process of amplification that enables us to see more clearly.
- Mar Stine
Rather than focusing on the the women who were thus ‘decieved’ and made to disappear from the public sphere, the play calls attention to the masculinised logic that achieved this deception. Arguments and counter-arguments on a range of issues - a masculinised political sphere and the discourses that shape it, the choices made by those who were and are active in this sphere and the imagination that keeps it alive – structure the play; while humour, satire, anger and sorrow move the scenes along. This play marks a distinctive moment in our feminist politics.
- V. Geetha
Thursday, September 30, 2010
Cannappan Velusingam Velupillai (14.09.1914-19.11.1984)
Cannappan Velusingam Velupillai (14.09.1914-19.11.1984)
1934- Visvamadgenee- Drama-64pages- Associated news Papers of Ceylon, Colombo.
1946- First Step(muthat Padi) 32 pages- United press Ltd, 258, Hulfsdorp Street, Colombo.
1949-Kaathal Chiththiram- Naveenam- Kalai Pirasuralayam, Colombo.
1949-Wayfarer- Poems-47 pages
1954- In Ceylon's Tea Garden
1969-Theyilai Thoddaththile- Translation in to Thamil- Shakthi R. Palaiyah
1970-Born to Labour-Sketches-M.D.Gunasena, Colombo
1981-Veedatravan-vaiharai Veliyeedu- Jaffna & NCBH
1983-Malainaaddu Paadalhal-Kalaigan Pathippaham-Chennai
1984- Inippadamaadden-Novel-Meenadchi Puththaha Nilayam-Chennai
1987- Naadatravan Kathai-Articles-
2001-Vaalvatra Vaalvu-Novel- Saral Veliyeeddaham
1934- Visvamadgenee- Drama-64pages- Associated news Papers of Ceylon, Colombo.
1946- First Step(muthat Padi) 32 pages- United press Ltd, 258, Hulfsdorp Street, Colombo.
1949-Kaathal Chiththiram- Naveenam- Kalai Pirasuralayam, Colombo.
1949-Wayfarer- Poems-47 pages
1954- In Ceylon's Tea Garden
1969-Theyilai Thoddaththile- Translation in to Thamil- Shakthi R. Palaiyah
1970-Born to Labour-Sketches-M.D.Gunasena, Colombo
1981-Veedatravan-vaiharai Veliyeedu- Jaffna & NCBH
1983-Malainaaddu Paadalhal-Kalaigan Pathippaham-Chennai
1984- Inippadamaadden-Novel-Meenadchi Puththaha Nilayam-Chennai
1987- Naadatravan Kathai-Articles-
2001-Vaalvatra Vaalvu-Novel- Saral Veliyeeddaham
Subscribe to:
Posts (Atom)