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A dissent voice from the Sout
jHkrpwp gz;lhuehaf;f: njd;dpyq;ifapypUe;J xU fyf
jHkrpwp gz;lhuehaf;f jdJ gilg;GfspD}lhfj; jkpo; kf;fs tplg;gl;l Aj;j td;Kiwf;F vjpuhd jd ntspg;gLj;jpajhy; =yq;fh murpd; fht uizf;F cl;gLj;jg;gl;lJld; jPtputhj fspd; nfhiy kpul;ly;fisAk; capuhgj;i Fk; xU rpq;fsf; fiyQH.

issent voice from the South
jHkrpwp gz;lhuehaf;f:
q;ifapypUe;J xU fyff;Fuy;
huehaf;f
}lhfj; jkpo; kf;fs;kPJ fl;ltpo;j;J iwf;F vjpuhd jdJ epiyg;ghl;il yq;fh murpd; fhty; Jiwapd; tprh g;gl;lJld; jPtputhj rpq;fsf; Fk;gy; y;fisAk; capuhgj;ijAk; vjpH Nehf; yQH.

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jdJ fiyAyf tho;it ehlfq;fspy;> jpiug;glq;fs tUk;> jpiug;gl-ehlf newpahsuhf mwpag;gl;ltUk (Dharmasiri Bandaranayake: Drama & Film Director, Sc ifapd; fSj;Jiw khtl;lj;jpy; Nttpw;w vd;w ,lj;jpy FLk;gg; ngaH ePyg;ngUkhs; (Kalukapuge).
,th; jhNd vOjp ,af;fpa Kjy; ehlfkhd ‘Vfhjpgjp’ ,w;Fk; Nkw;gl;l jlitfs; NkilNaw;wg;gl;Ls;sJ fq;fspd; rpq;fs tbtj;jpid mNdf jlitfs; Nki tpohtpy; rpwe;j ehlf ,af;Feh; cl;glg; gy tpUJf ntspte;j ,tuJ jpiug;glkhd ‘gtJf;f’> ngsj;j ,yq;ifapy; eilngw;WtUk; td;Kiwfs; - Aj;jk; F vd;w ngsj;j rpj;jhe;jj;jpd;kPJ Nfs;tpia vOg;gpapU
A9 neLQ;rhiy jpwf;fg;gl;lijj; njhlh;e;J aho;g;ghz Nfhzkiy Mfpa khtl;lq;fSf;F tp[ak; nra;J ,J tpohf;fis ez;gh;fspd; cjtpAld; elhj;jpAs;sJl Ak; NkilNaw;wpAs;shh;. tl-fpof;F fiyQh;fis> kf ghuk;ghpaf; fiyfshd ehl;Lf;$j;J> tpy;Yg;ghl;L> f eldk; ,tw;iwg; ghh;itapl;Lk; Nfl;Lk; tpag;gile;J> t jpy; ehlfj;jpw;Fhpa kpfTk; tYthd $Wfs; (strong t ehl;lhh; ,irapYk; eldj;jpYk; tYkpf;f ehlfj;jpw;Fh images) ,Ug;gijAk; ,dk; fz;L mtw;iw tPbNah n nksdFUtpd; ,uhtNzrd; ehl;Lf;$j;ijAk;> tl;Lf Aj;jj;ijAk; tptuzg;glkhf;fp> Mq;fpy cgjiyg;Gf gLj;jpj; jkpoh;fs; nra;jpUf;fNtz;ba XH mUk;gzpi
jh;krpwp ,e;jpahtpy; eilngw;w ,uhkhaz ehl;Lf;$j;J itapl;Ls;sJld; Nfush> jkpo;ehL nrd;W fiyQh $j;Jtiffisg; gw;wp mwpe;jjd; thapyhf> fjfs ,izj;J ,uhkazj;ij rpq;fs nkhopapy; jahhpj;Js
rpq;fs eldtifapYk;> ,e;jpahtpy; cs;s eldtif fis ,izj;J Mrpahtpw;Fhpa ghuk;ghpaj;ijf;nf thf;Fk; Kaw;rpapy;  jpiug;glq;fspy; ebg;gjd; %yk; Muk;gpj;j hsuhf mwpag;gl;ltUkhd jh;krpwp gz;lhuehaf;f ma & Film Director, Script writer and Producer) ,yq; py; Nttpw;w vd;w ,lj;jpy; 06.10.1949,y; gpwe;jhh;. ,tuJ
lukapuge).
y; ehlfkhd ‘Vfhjpgjp’ 1976,ypUe;J ,d;W tiu 1400 kilNaw;wg;gl;Ls;sJ. gpwnkhopapy; mike;j ehl mNdf jlitfs; NkilNaw;wpaNjhL> Njrpa ehlf eh; cl;glg; gy tpUJfisg; ngw;Ws;shH. ,Wjpahf hd ‘gtJf;f’> ngsj;j ehL vd;W nrhy;yg;gLfpd;w td;Kiwfs; - Aj;jk; Fwpj;J> midj;JNk tpjpg;gb PJ Nfs;tpia vOg;gpapUe;jJ.
jj; njhlh;e;J aho;g;ghzk;> tTdpah> kl;lf;fsg;G> jpU f;F tp[ak; nra;J ,Jtiu ehd;F rpq;fsj; jpiug;gl pAld; elhj;jpAs;sJld;> mq;F rpq;fs ehlfq;fis f;F fiyQh;fis> kf;fisr; re;jpj;Jj; jkpoh;fspd; ;$j;J> tpy;Yg;ghl;L> fpuhkpa-ehl;Lg; ghly;fs;> ,ir> ; Nfl;Lk; tpag;gile;J> tlNkhb> njd;Nkhb ehl;Lf;$j; thd $Wfs; (strong theatrical elements) ,Ug;gijAk;> ; tYkpf;f ehlfj;jpw;Fhpa cUtq;fs; (strong theatrical ;L mtw;iw tPbNah nra;a Muk;gpj;jhh;. Nguhrphpah; l;Lf;$j;ijAk;> tl;Lf;Nfhl;il ehl;Lf;$j;jhd jh;k p> Mq;fpy cgjiyg;Gf;fSld; dvd tbtpy; Mtzg; Ntz;ba XH mUk;gzpia Mw;wpAs;shh;.
,uhkhaz ehl;Lf;$j;Jj; jpUtpohtpw;Fr; nrd;W ghh; po;ehL nrd;W fiyQh;fSld; ciuahb mq;Fs;s jd; thapyhf> fjfspiaAk; rpq;fs eldj;ijAk; s nkhopapy; jahhpj;Js;shh;.
htpy; cs;s eldtifapYk; fhzg;gLk; xj;j jd;ik hpa ghuk;ghpaj;ijf;nfhz;l fiyg; gilg;ig cU jh;krpwpAldhd ,e;Neh;fhzy;> ,tuhy; Enf nfhil Qh;fspd; ghriwahd TrikonE ARTS CENTRE,y; a;ag;gl;lJ. rpq;fsj;jpypUe;J Mq;fpyj;jpw;F cld;
FF
- gh. Jthufd;

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fiy kPjhd  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  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; ghPl;irf;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;.
ePq;fs; ebfuhf ,Ue;j Muk;g ehl;fs;> cq;f sJ KjyhtJ fiyg; gilg;G - ehlfq;fs;> jpiug;glq;fs;:
jh;krpwp gz;lhuehaf;fTld NeHfhzy;
gh. Jthufd;
jpiug;gl e jd. Kjy ypy; 1967, gpujpgypg;g Ue;jJ. , tug;gLfpd nts;is tug;gl;ljh ghlrhiya rpdpkhtpy; FztHj;jd vd;w jpiug ,f;fhyg;gF gw;wpNdd;.
71 fpsHr;rp ,wg;gH fl Control De Fr; NrHe;Nj tHj;jd> n rpy;th Nghd ,af;fj;jpY fspd; nj NkYk; ts
,wg;gH fl nra;Ak;Ngh (Eka adhip eilngw;w

p gz;lhuehaf;fTldhd
y;
hf ,Ue;j ;?
VO tajp ;$Lfisj; pd; mg;gh gFjpapy; ;iffisr; d miog; Hg;gzpj;jp
s; fiy tpl;ltH. y; gbf;fpd; vd;Ds; rhiyapy; hd;wtw;iw ,Ue;jJ. fhz;Nld;. d.
fpsHr;rp. ;Fk;. ehd; ;bUe;Njd;. q;fs; gpd; gpujpgypj; s; vt;thW ;lhHfNsh> hjpg;gpid spy; nry;
ebfdhfg; apy; ghl spy; ebf;f zp vd;W
;fs;> cq;f hlfq;fs;>
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;g;Gf; 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

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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;  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 19 vLf;f Muk Nf.v];.ngN ahf itj Sorrow of e ehty; 1963 tpy; rpwe;j ,j;jpiug;g apy; eiln rpwe;j new ngw;Wj; je
njhlHe;J women (l;N vOjg;gl;l ngahpy; rp ,e;ehlfj;J rpwe;j ebi jd.
vdJ mi jhf ,Ue;j jdpkdpjHf thf ,Ue gtJf;f> gt jpapUe;jd.
ePq;fs; jp mDg;Gtjp
KjyhtJ vitAk; n tpohf;fSf zk; jahh (Subtitle) N jw;NghJ J ,uz;ilAk ld; nfhOk RjpyhNf f fs; ,lg;g
vdJ rpy g ifaHfsh ,j;jpiug;g
cq;fsJ gtfHk ,u Ljyhf m %ykhfg; g nfhs;s t

pwe;j ebf sAk; ngw; jp Nkil
d;rtpyf; l;lJ. mg; jpizf;f ; jpiug;g g;gl tpoh
y; ,Ue;J d;. mjd; d;w jpiug; ,yq;ifj; Nul; jpiug; mj;jpiug; ,yFtpy;
eam of the ahhpg;gjpy; dpy; glg; mJ 1981 KjyhtJ ;fhL vd;w Mr;rphpag; (negative) HkkhfNt
Rjpyhtpd; y; irkd; ilahff; ;. 1985,y; py; mj;jp fH> rpwe;j w;wJ.
; nrYj;j paj; ehlf i Shavarts) nkhopapy;
hd; Nghy; ShadowsI ;w ngahpy; ;j ehlfk;> 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;?

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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;kPjhd 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;r;rpailfpd;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;jpiua ahsHfis fiyQHfs
,jid ePq
jw;NghJ k ghHitahs spy; ,Ue;J ijf; fhz te;J jpiu tpl;L tpy Ntz;Lk;.
1980 A+iy epWj;jg; Ng fs; ntWi itahsHf mjd; gpd; mbj;Jr;nr njd; gFjp lq;fisAk fytuj;ij spy; ,Ue auq;Ffs;> vhpf;fg;gl;l ifahd g
,jd; gpwF fg;gl;l gpw QHfspd; Vw;gLj;jpa fbfSf;F tho;T epiy apy; njd; kf;fis f aJ. md;W glf; fhl;rp ,d;W gpujh g]; Nghf;F nghpa ms
mNrhf ` is my moon fStu (De kjpak (Th glq;fs; , gw;wpAk; ,d nfhz;bUf kf;fspd; t ngw;wJ v jkpo; kf;f

j;jpy; ,U ;zpapUf;f l;lJ. ,j MW kzp . mjdhy;. vd;w ,U
f; nfhz;L d; vd;W kl;Lky;y Uk;gpNdd;.
,df;fyt py; njd;dp pYk; vd;d g;gLfpd;w Vd; epfo;e; ;glq;fSk; papd; (fHkh ehk; ngW j;j fUj;jp vOg;gpd. ahNuh xU mDgtpf; j;jpd.
;fs;kPjhd hwhdjhf
;gpLifapy; sHfSld; lfpd;Nwd;. sHfSld;
00 Mz;L s; Nkil `uf;rah 1994,y; Hitler) 96 0 jlitf k; Nkil 9,ypUe;J ;gl;Ls;sJ. pj; jpiug;g Nk mjpf audience)
tpyfpap tJf;fit
kPsj;jpiuapl;lNghJ Kd;G fhzf;fpilj;j ghHit ahsHfisf; fhzKba tpy;iy. ,J midj;Jf; fiyQHfspw;Fk; nghJthdjhf cs;sJ.
,jid ePq;fs; vt;thW ghHf;fpd;wPHfs;?
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; $w Ntz;Lk;.
1980 A+iyapy; eilngw;w njhlHr;rpahd Ntiy epWj;jg; Nghuhl;lj;ijj; njhlHe;J jpiu auq;F fs; ntWikailaj; njhlq;fpd. ngUksT ghH itahsHfis ,jd;NghJ ,of;f Nehpl;lJ. mjd; gpd; 1983 A+iy fytuk; ghHitahsHfis mbj;Jr;nrd;Wtpl;lJ. 1983 fytuk; Vw;gLk; tiu njd; gFjpapy; trpj;j jkpoHfs; rpq;fsj; jpiug;g lq;fisAk;> ehlfq;fisAk; ghHf;f tUthHfs;. fytuj;ijj; njhlHe;J jkpoHfs; jpiuauq;Ff spy; ,Ue;J tpyfpdH. fytuj;jpd;NghJ jpiu auq;Ffs;> jpiug;glr; RUs;fs; ];&bNahf;fs; vhpf;fg;gl;ld. ,ijj; njhlh;e;J ngUk; vz;zpf; ifahd ghHitahsHfs; fhzhky; NghapdH.
,jd; gpwF Aj;jk; Muk;gkhdJ. Aj;jk; Muk;gpf; fg;gl;l gpwF mJ ,yq;ifapy; fiyapd;> fiy QHfspd; ,Ug;gpw;F kpfg;nghpa mr;RWj;jiy Vw;gLj;jpaJ. nghUshjhu hPjpahf kf;fs; neUf; fbfSf;F Kfk; nfhLf;fj; njhlq;fpdH. ehshe;j tho;T epiyaw;wjhf khwpaJ. 1987–89 fhyg;gFjp apy; njd; gFjpapy; eilngw;w gLnfhiyfs; kf;fis fiyntspg;ghl;bypUe;J me;epag;gLj;jp aJ. md;W epWj;jg;gl;l ,uT 9.30 kzp jpiug; glf; fhl;rp ,d;W tiu kPs Muk;gpf;fg;gltpy;iy. ,d;W gpujhd efuq;fspy;$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

Page 7
gw;wpNah ve;jf; fUj;ijAk; nfhz;bUf;f tpy;iy. ,jid ePq;fs; vg;gbg; ghh;f;fpd; wPh;fs;?
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   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;wpadthf ,Ue;jNghjpYk; cz;ikapy; 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;ifapy; jpiug;gl newpahsHfSf;Fk; 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
vtuhtJ> V vLf;ftpy;i apUg;Ngd;: Raj;ij t epfohj gpuN jpiug;glk
A-9 neLQ gFjpf;Fr tpohf;fs; rpq;fs eh fs;. ,jd;N vt;thwpUe
A–9 ghij fs r%f Vw;gLj;jpf  ` lfhykhfr gy;NtW m fSf;Fk; M
,jw;F xU Gf;fis c gy;NtW chpatHfs iffSk; N rkhjhdr; # kl;Lky;y> ilg;Gf;fi epyTtij Gjpatw;iw

hz;bUf;f ; ghh;f;fpd;
lq;fshy; vd;gNj. ijiaNa ;tpj mDg jAk; jhk; cUthf;F hy; czu pHghHj;Jj; tpUJfs; ;jk; gw;wpa Ntz;Lk;. y;thjpfs;
hHj;Jtpl;L t glj;ijg; zHitg; ;fs; vd;d s kf;fs; vd;gijg; ; fhzKb
,u kjpak . Mdhy;> ; vt;tpj;jp ;fr; rhHgh j;jk; ,U J vd;gJ hz;bUf;f ;fj;ijNa fiyQHf
lgFjpapy; Utq;fs;> f;f r%fk; ;ikapy; j> rpq;fs h;itahsh; Hfs;. cU thf ,Ue;
fSf;Fk; njhlHGk; py; nrd;W ; fUj;Jf;
fs; gw;wp mth;fs;; ftiyg;Ltjpy;iy.
vtuhtJ> Vd; ePq;fs; Aj;jk; gw;wpa jpiug;glj;ij vLf;ftpy;iy vd;W Nfl;bUg;gpd; ehd; nrhy;yp apUg;Ngd;: vd;dhy; NeHikahf Aj;jj;jpd; Raj;ij tpk;gq;fshf;f KbahJ vd;W. Aj;jk; epfohj gpuNjrj;jpy; tho;e;Jnfhz;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;Fr; nrd;W rpq;fsj; jpiug;gl tpohf;fs; rpytw;iw elhj;jpAs;sJld;> rpq;fs ehlfq;fisAk; NkilNaw;wpAs;sPH 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;  mtHfs; te;jpUf;fkhl;lhH fs;. vy;.hp.hp. `e;jfk> gpurd;d MfpNahH ePz; lfhykhfr; rpq;fsj; jPtputhjpfsplkpUe;J gy;NtW mr;RWj;jy;fSf;Fk; nfhiykpul;ly; fSf;Fk; MshfptUfpd;wPHfs;:
,jw;F xU fhuzk; murpay; rk;ke;jkhd gilg; Gf;fis cUthf;FtNj. ,e;j mr;RWj;jy;fs; gy;NtW topfspy; tUfpd;wd. ,J gw;wp 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;|

Page 8
,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;  rkhjhdj;jpy;  jkpo; kf;fSld; njhlHGnfhs;Sk; fiyQHfis nksdkhf;fp tUfpd;wJ. gaq;fu mr;RWj;jy;fs; mtHfis nksdkhf;fptpL 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 $wpapUf;fpd;wPHfs;:
Mk;> ehk; vkJ vz;zq;fis - mDgtq;fis fiyA+lhf ntspg;gLj;j Kbahky; cs;sJ. (so I feel that I am a minority) ,jdhy; ehd; xU rpWghd;ik ,dj;jtd; vd;Nw ,d;W czUfpd; Nwd;.
TrikonE ARTS CENTERI cUthf;fpaJ> mjd; Nehf;fk;:
tlf;fpy; fiyAld; rk;ge;jg;gl;l ngUk;ghyhdtH fisr; re;jpj;jpUf;fpNwd; tl-fpof;F my;yJ njd;gFjp vd;w NtWghL ,y;yhky; ,yq;iff; fiyQHfspd; fiyahf;fq;fis Kd;ndLg;gjw;F XH ,lk; Njit vd czHe;Njd;. tl-fpof;fpy; thOk; fiyQHfspd; vz;zq;isAk;> vkJ rpe;jidfisAk; gfpHe;Jnfhz;L nraw;gl tpUk;gpNdd;. ,jdhy; vkf;F XH ,lk; Njitg;gl; lJ. caHjukhd fiyfis ,yq;ifapy; cUthf;fNtz;ba Njit ,Uf;;fpwJ. vkf;F gy tplaq;fis mwpe;Jnfhs;s Ntz;ba Njit
Ak; Vw;gl ARTS CEN
mz;ikapy njd;Nkhb glk; gpbj;J jpiug;glk ,jid M zk; vt;th
tlf;fpw;fhd fpof;Fg; g nra;jpUe;Nj iag; ghHf ghff; fpof vd;idf; f Lf;$j;J v Neuk; tpy;Y ,ir (Fol (Folk danc Lf;$j;Jf; wpy; ehlfj trical elem tYthd fz;Lnfh theatrical images in mjdhy; m Mty; vd glk;gpbf;f ,t;thWjh zg;gl;L> M zg; glkhf ($j;ij) r kf;fSf;F ehlfj;ij
NguhrphpaH ehl;baj;i ,izj;J vz;zpAs;N vt;thW ,i Nsd;. tl apYs;s e jd;ikfs; jpapy; cUt gpugypg;gjh fiyia n

mopg;gJ.
Nj gpur;rp topnad;W ;thjpfshy; > fiyQH f;fSld; fhyj;jpw; fhuzkhf
J rkhjh z;zpf;if njd;gFjp ;  vkJ nraw;gl Njitg;gl; q;ifapy; . vkf;F ;ba Njit
Ak; Vw;gl;lJ. ,jdhy; cUthdNj TrikonE ARTS CENTE.
mz;ikapy; ePq;fs; NguhrphpaH nksdFUtpd; njd;Nkhb ehl;Lf;$j;jhd ,uhtNzrid glk; gpbj;J> Mq;fpy cgjiyg;Gf;fs; ,l;Lj; jpiug;glkhf Mtzg;gLj;jpAs;sPHfs;. ,jid Mtzg;gLj;j Ntz;Lk; vd;w vz; zk; vt;thW Vw;gl;lJ?
tlf;fpw;fhd A-9 ghij jpwf;fg;gl;l gpd;dH tl- fpof;Fg; gFjpfSf;F gy jlitfs; gazk; nra;jpUe;Njd;. tl-fpof;F fiyQHfspd; jpwik iag; ghHf;Fk;NghJ kfpo;r;rpaile;Njd;. Fwpg; ghff; fpof;fpyq;ifapd; njd;Nkhb ehl;Lf;$j;J vd;idf; ftHe;jJ. mjpYk; ,uhtNzrd; ehl; Lf;$j;J vd;Ds; tpag;ig Vw;gLj;jpaJ. mNj Neuk; tpy;Yg;ghl;L> ehl;lhH ghly;fs;> ehl;Lg;Gw ,ir (Folk music), ehl;Lg;Gw (kf;fs;) eldk; (Folk dance), aho;g;ghzj;jpy; tl;Lf;Nfhl;il ehl; Lf;$j;Jf; FOtpduJ fiy ntspg;ghLfs;> ,tw; wpy; ehlfj;jpw;Fhpa rf;jptha;e;j $Wfs; (Thea- trical elements) ,Ug;gijAk;> ehlfj;jpw;Fhpa tYthd cUtfq;fs; (Images) ,Ug;gijAk; fz;Lnfhz;Nld;. (I realised very strong theatrical elements and strong theatrical images in those folk music and folk dance.) mjdhy; mtw;iw Mtzg;gLj;j Ntz;Lk; vd;w Mty; vd;Ds; Vw;gl;lJ. mjdhy; mtw;iwg; glk;gpbf;f (video) Muk;gpj;Njd;. ,uhtNzrd; ,t;thWjhd; glk; gpbf;fg;gl;L> gpd; vbl; gz; zg;gl;L> Mq;fpy cgjiyg;Gf;fs; ,lg;gl;L tptu zg; glkhf;fg;gl;lJ. ,g;NghJ me;j ehlfj;ij ($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;r;rpapy;  Mrpahtpd; ghuk;ghpa eldj;ij> fiyia ntspg;gLj;Jtjhf ,Uf;Fk;.
l
(ed;wp: ~fhyk;|-fdlh)

Page 9
J}jpf;fhNth jpiug;glk;: rpy mtjhdq;fs;
Njrq;fs;> vy;iyfs;> NghH> ntw;wp-Njhy;tp> gaq; futhjk; Kjyhdtw;wpw;F mg;ghYk;> Nkw;$wg;gl; Ls;stw;wpd; NjitfSf;fhfTk; rhjhuz kdpj capHfs; gypaplg;;gLtij ehk; thOk; cyfk; kpFe;j rfpg;Gj;jd;ikAld; Vw;Wf;nfhs;sg; gofpf; nfhz;Ltpl;lJ! 2004 nrg;nlk;gH 3,y; nrr;rpdpa nfupy;yhf;fs; ,U Nfhupf; iffis Kd;itj;J u\;ahtpd; ng]; yhd; ngz;fs; caH ghlrhiyapy;; khztHfs;> ngw;NwhHfs;> MrpupaHfs; vd Mapuj;Jf;Fk; mjpfkhdtHfsg; gzak;itj;j ehlfk; ,uj;jk; Njha;e; jjhf> Vwj;jho 350 rhjhuz kdpjHf spd; capupog;Gld;> %d;W ehl;fspy; KbTf;F tUfpd;wJ. ,we;jtHfspy; 150f;Fk; mjpfkhdtHfs; khztpfs;;.
ng];yhd; rk;gtj;ij fUg;nghUshff; nfhz;L fle;jfhy murpay; epfo;Tfs; xUrpytw;iwAk;> mtw;wpw;Fk; mg;gh yhd khDl Neaj;ijAk; xNu ehl;by; tho;fpd;w ngUk;ghd;ikapd kf;fs; jkJ rNfhju ,dj; jkpo; kf;fspd; Jaiu mwpe;J nfhs;shky; ,Ug;gj ijAk; fiy ntspg;ghl;by; ,ioNahl itj;J ,yq;ifapd; fSj;Jiw jpUf;FLk;g fd;dpaH kl ghlrhiy khztpfs; xU Nkil ehlfj;ij 2005,y; muq;Nfw;wpapUe;jdH.
,e;ehlfk; Kjw; jlitahfj; jpUf;FLk;g fd; dpaH klj;jpy; NkilNaw;wg;gl;lNghJ Gfo; ngw;w rpq;fs ehlf> jpiug;lgl ,af;Feuhd ju;krpwp gz;lhuehaf;f rpwg;G tpUe;jpduhf miof;fg;gl;b Ue;jhu;. khztpfs; ehlfj;jpw;Fj; jahuhd tpj Kk;> mtHfsJ ebg;ghw;wYk;> mtHfs; Ngr vLj;Jf;nfhz;l tplaq;fSk;> NeHNfhl;by; mik ahj ehlf ,af;fKk;> ehlfk; Vw;gLj;jpa Aj;jk; gw;wpa tpopg;GzHTk; ju;;krpwp gz;lhuehaf;fhit  ,e;j ehlf Mfpad m ju;krpwpia epiyj;jpU
J}jpf;fhNt rpy ehl;fs Uf;Fk;> Tr FLICT Ngh Gf;fSf;Fk FOtplk; , xd;W mD “,e;ehlfj NkilNaw Tk; Nkw;$ njhlHGgL fLikahf fj;ij mu xt;nthU r fud; vd;gt fhz;gpf;fg gaq;futhj ghlrhiya tu;isg; gz

yj;jpUf;Fk; mUk;gzp
y;tp> gaq; kw;$wg;gl; uz kdpj k; cyfk; ;sg; gofpf; ; nrr;rpdpa
; ;; ; ; ;
; ;
; ;
; ; ;
pUf;FLk;g U Nkil dH.
Lk;g fd; fo; ngw;w ju;krpwp of;fg;gl;b huhd tpj Hfs; Ngr ;by; mik pa Aj;jk; haf;fhit
pd; cjtp ; muq;fpy; Dk; me; Nkil
Naw;wg;gl;lNghJ jh;krpwpapd; jpupNfhz fiyafj;jpdu; ,jid KOikahf tpbNahtpy; xspg;gjpthf;fpapUe;jdH. ehlfk; NkilNaw;wg;gl;lijj; njhlHe;J eilngw;w epfo;Tfs;> mr;RWj;jy; fhuzkhfj; njhlHe;Jk; ,e;j ehlfj;ij NkilNaw;w Kbahky; Nghdik Mfpad mjid xU tptuzf; FWk;glkhf;f ju;krpwpia ce;j cUthd jpiug;glNk vd;Wk; epiyj;jpUf;Fk; mUk;gzp.
J}jpf;fhNth ehlfk; nfhOk;gpy; NkilNaw;wg;gl;l rpy ehl;fspy; jpUf;FLk;g fd;dpaH kl mjpg Uf;Fk;> Tricone Art Centre> Bergohf Foundation> FLICT Nghd;w rkhjdj;jpw;F Mjuthd mikg; Gf;fSf;Fk; ‘tPjpa gz;lhu gilazp’ vd;w FOtplk; ,Ue;J vr;rupf;if nra;Ak; kpd;dQ;ry; xd;W mDg;gg;gl;bUe;jJ. mf;fbjj;jpd; Kbtpy; “,e;ehlfj;ij vjpu;fhyj;jpy; kf;fs; fhl;rpf;F NkilNaw;Wtjhdhy; ve;jnthU fhuzj;jpw;fhf Tk; Nkw;$wpa muR rhHgw;w epWtdq;fisj; njhlHGgLj;jpf;nfhs;s Ntz;lhnkd ,j;jhy; fLikahf vr;rupf;fg;gLfpwPu;fs;. mt;thW ,e;ehl fj;ij muq;Nfw;WtPu;fshdhy; NkilNaw;wg;gLk; xt;nthU re;ju;g;gj;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

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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;.
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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;r;rp trg;gl Neu;e;jJ 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;g;Gf; fpilj;jNj vd;W kfpo;r;rpailayhk; xU fzkhtJ mtHfs; mDgtpf;Fk; Jd;gj;ij NkilapyhtJ nfhQ;rNeuk; mDgtpj;Jj; 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.
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gpd;tUk; Nk ehlfj;ij nfhz;LtU ehs; vdJ rUkj;jpd; rhjpapd; elj;ijapd xU ehl;by fpNwd;.”

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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;yhky; mtu;fsJ elj;ijapd; cs;slf;fj;jhy; jPu;khdpf;fg;gLk; xU ehl;by; tho;thu;fnsd ehd; fdT fhz; fpNwd;.”
- gh.Jthufd

Page 12
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Page 13
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) [g;ghdpa J}Jtupd; tjptpl ,y;yj;jpy; 72 Ngih gza itj;jpUe;jdu;. Vg;gpuy; 22> 1997 ngU ehl;Lg; gilapd gzaf;ifjpAk; 2 gilapdUk; 14 NghuhspfSk; capupoe;jJ ehlfk; epiwTw;wJ.
ifjpfspy; mNefkhdtHfis tpLtpj;jpUe;j epiya vdg; Nghuhspfs; nfQ;rpaNghJk; mtHfs; kpf mUfpy; i yg; gLfpd;whHfs;. ruzile;j Nghuhspfs; jiyapy; Rl;Lf kpNyr;rj;jdkhd nrayhfNt Clfq;fs; gy fUj;J nts nfupy;yhf;fspy; mNdfu; mupjhfNt ghlrhiyf;Fr; nrd
xU gjpd;ktaJ (teenage) ngz; Nghuhsp jdJ tPl;L mtsJ mk;khit $g;gpl;L mOjjhfTk;> gpd;du; Vi gzaf;ifjpfSld; ciuahLtijj; jLf;Fk;Kfkhf K tpLtpf;fg;gl;l xUtH njuptpj;jhu;.
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l l l

py; ele;jJ vd;d?
rebels
y 30, 1997-Editorial
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; Nghuhsp jdJ tPl;L epidTld; ,Ue;jjhfTk;> ,utpy; jjhfTk;> gpd;du; Vida nfupy;yhf;fs; ,g;ngz;iz jj; jLf;Fk;Kfkhf KyhtJ khbapy; epWj;jpajhfTk;
; fhl;Lf;Fg; Nghf tpUk;GtjhfTk;> kw;nwy;yhtw;iwAk;tpl hfTk; tUj;jj;Jld; njuptpj;jijAk;> ,uz;L ngz; Soap Operas) njhiyf;fhl;rpapy; ghu;g;gjpy; Mu;tKld; jdf;F tptrhak; nra;ar; rpwpa epyNk Njit vd;W af;ifjpfs; njuptpf;fpd;wNghJ Ugf; mkU Nghuhspfs;
l l l

Page 14
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 actor, pla director. T justice to a novel – d realistic an
Whether B because h whether h ascertain. was artist included. H business Bandarana “This is ve to handle, was born,”
No childh
Bandarana children cr demonstra was menta you’re you simply tho memories seems to h I got into d through the to express
The fact th Vidyalaya, outstandin always cam helped. H Liyanage’s
“Some pe criminals o Fortunatel release,” B

ay 2007
CTOR
e agine the
pe would g, and The
look ir realise
.
en in Sri well worth life, times enal, and falls into trings only g.
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.

Page 15
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 w he attemp depressio time of de with a gun
He decried for so man in the han talk about – yet to me in the wor showpiece If you ask where the respect for Look arou practices compassio Certainly n the majori by many B UNP, JVP
Subtle im
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Bandarana or that of people to t
So why is puppet stri least ques solve the d all his inna Dharmasir be addres conflicts w

nly for his o for the continues ur times.
including in nature, ach era.” d though ght about eats, on
dealt with bacle that hallenges ovement uring the ation has ich I once of this,” ot tired of
.”
idn’t have en. As for and their ranayake oliticians, tician is to out to fill y is where , cease to politics, bing de-
eedom of dearth of lieved in. rt, people ave been get better
rse.”
rtistes to Women. tion in the mpts.
e natural n 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.
l l l

Page 16
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Page 17
Sixth Year Anniversary Performance of THE TROJAN WOMEN
Sinhala translation of the Greek anti-war play b Directed by Dharmasiri Bandaranaya
On the 25th Oct. 2006 at 7. at the Lionel Wendt Theatre-
in aid of the TrikonE Arts C
Dharmasiri Bandaranayak Director - TrikonE Arts Cen
Limited tickets available at Lionel
Tickets priced at Rs.500/=, 2
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 f
The play T in 415 BC created by
Based o Bandaran suit the pr this drama of Sri Lan Vembadi G of Jaffna atrocities o

Sixth Year Anniversary Performance of HE TROJAN WOMEN
slation of the Greek anti-war play by Euripides ected by Dharmasiri Bandaranayake
25 Oct. 2006 at 7.00 pm. onel Wendt Theatre-Colombo
f the TrikonE Arts Centre
armasiri Bandaranayake ctor - TrikonE Arts Centre
available at Lionel Wendt Theatre iced at Rs.500/=, 200/=, 100
ke’s pact on
view
victorious e. Yet the Likewise the very t Greece ut destru-
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

Page 18
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 free
Dharmasir out with th the way Chavakac
World Soc
The lasting The Trojan
By Piyasee 3 April 200
Back to s
An adaptat by Ariyaw Wakkumbu by Dharma Euripides ( socially cri Trojan Wom innovative penetrating Euripides’ women and war. In The Troj pronounced women be circumstan faith in the see Hecab prisoner of man’s depe wisdom and again. Euripides’ to recognis gods with c gods are sp as jealous, themselves conservativ known that class ideolo Whatever Euripides c had still to of the fact t

feelings
for more killed and ves. The shackles
differ but erywhere, out in his niques of
rince was ce of the ken from armasiri lents by the blood Hecuba, d body.
dience to er worked tive work ves a lot rough his
ought as holy. But ust like a play goes the drama thinking r seeing it barrier.
ar more So even andaran- d play.
nt to see of sound, d up by a nd facial though all part well. f Hecuba ent, after about to shackles domitable
seen the nged 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

Page 19
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 the women respective d time to tim bemoan no dark, but al and the life That the Tr degrading a brought ou
The leaders female pris amongst t noblewome are able to war.
Hecabe, th the slave o younger da the Greek h though Poly of her creat girl of child
Andromach Hector, fall son. Androm before the Hector’s s misfortune, dutiful wife
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Andromach concubine had been a stranger—o and laid Tr
Andromac beloved He it will see alternately, the hatred something t that fortune

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that in the uffer more ojan slave ewail 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

Page 20
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 slave; the b
Chorus lea foul heart;
We see He admitting t
Hecabe: “T
The Helen Trojan Wom the modern endeavour t also comes tragic heroi in the class wedlock, is That Hele Menelaus i by the male of Menela prisoners’ c
It is clear especially d invading G the women from the Tr destruction fact that her prisoners sh the Greek s that Helen moral laxit been forcib after Paris’ accusation. woman wh trying, pain
It is clearly to the pr Bandarana dressed in S into the pla army and ar prisoners, w highly prai sake of the
In a contex dressed in S can all too program of
The remark is due not o essential co the staging

temporary are finally depths of the enemy. , the Greek ay that the ctor’s and ld become
the maiden sandra had reek king darkness.”
Cassandra a sexually eness and Cassandra hold most ion is also ly woman hatred and ause of the rior heroes self. She is smen—the
abe, Helen bereft of snare that tilises to quest for
ng herself, logical to urce of the trong and significant ual love— Of course, thological l—but this tator from ment with h him:
Paris is the goddess at left behind iled away hat matter. yself. Why in my right nd home? 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

Page 21
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.
Jehan Alo Aloysius, in keeping up weaknesses for a woma nor the soc rather low attractive c
The music clear that B to break ne
The Trojan and lacking the camp w and messen tidings from held there. Greek ship more or les taken to the the play giv each colou prisoner wh
It should b detracts fro main theme of women a
l l l

Jehan the mood
Aloysius’ Menelaus also deserves mention. .
Aloysius, in the magnificent robes of a Greek aristocrat
e fact that g that had The Trojan l tradition ountry like ctors and
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.
nowledge
The music is by Rukantha Gunathilake, and here too it is irector has
clear that Bandaranayaka has scored with his willingness le theatre
to break new ground. e dramatic anayaka’s graphy of he success
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 of the cast
held there. The audience is made to understand that the from the
Greek ships are ready to set sail for home. The action tive roles
more or less consists in the women, one by one, being individual
taken to the enemy ships. Therefore the very structure of portrayed
the play gives it the appearance of a string of episodes, each coloured by the specific personality of the woman
ari Perera
prisoner who figures prominently in it.
with her
It should be emphasised that the structure in no way sting role,
detracts from the basic unity of the play, which lies in its rformance
main theme: the devastation created by war in the lives cognition.
of women and children.
l l l

Page 22
Porf. S.V. Rajadurai Head
It was a great privilege to meet Mr. Dharamasiri Bandaranayake, one o performing and visual arts in Sri Lanka. It was sometime at the end of 200 friends. I traveled a great distance from Colombo to Kandy, Batticaloa, tormented island just a few days before it faced the wrath of tsunami, a wrought by the ongoing war was not enough to persecute its inhabitan through the theatre reviews in Sri Lankan journals and dailies and also fr and Dr Maunaguru. There was also in me a vague memory of the revie Guardian, I believe) whom I always considered a great teacher. Whichev insisted that it is a ‘must’ for me to meet Mr. Dharamasiri. Every one of t spared them the trouble. He drove all the way down to meet me in my ho expected to meet someone so unassuming and so un self-conscious. H of talking about himself. May be his discomfiture in communicative Engli full to the brim. I am a great lover of theatre and I had just seen ‘Medea Company. It was quite disappointing and at some points very vulgar. I Dharmasiri’s ‘The Trojan Women’ on stage. The best I could do was to w impact it could make was visible when I showed just a few scenes from it in Tamil Nadu. I and my friends had organized screening of some of the which Mr. Dharmasiri is the brain. It suddenly dawned in our heads why t the throat of Mr. Dharmasiri.
I had the privilege of watching his Sinhala version of Sartre’s “Men with invited by him. Throughout my adult life Sartre has remained a great ins plays translated into English. Mr. Dharmasiri had transformed the French p of France, into something that had an immediate resonance in the war to aspect of all wars.
The audience in Tiruchirapalli could watch only two of his documentary was such an aesthetic pleasure. But most of us felt ashamed of not created and preserved for posterity by the Sinhala and Tamil peoples. W rhythms of Sinhala drums and by the nimble but intricate movements of alone had the privilege to watch. The artists breathe life into the masks are indebted to Mr. Dharmasiri for this marvelous journey into the creat Tamil counterparts. It is the universality of the art that binds us all togeth enjoy collectively in the only planet we have.
CENTRE FOR PERIYAR BHARATHIDASAN UNI PALKALAIPERUR, TIRUCHIR Tamilnadu, In

CENTRE FOR PERIYAR STUDIES BHARATHIDASAN UNIVERSITY LKALAIPERUR, TIRUCHIRAPPALLI - 620 024,
Tamilnadu, India.
asiri Bandaranayake, one of the outstanding personalities in the field of s sometime at the end of 2004 I decided to visit Sri Lanka to meet my old ombo to Kandy, Batticaloa, Trinco and Jaffna and left that beautiful but ced the wrath of tsunami, as if the nature had decided the destructions h to persecute its inhabitants. I had already heard of Mr. Dharmasiri, rnals and dailies and also from the conversations with Dr K.Sivathamby vague memory of the review of his film by Regi Siriwardena (in Lanka ed a great teacher. Whichever Tamil friends I spoke to, he or she always Dharamasiri. Every one of them offered to introduce me to him. But he y down to meet me in my host’s place near the port in Colombo. I never and so un self-conscious. His simplicity was striking. He was a little shy ture in communicative English, I thought for a moment. No, he was man and I had just seen ‘Medea” as interpreted by a leading British Theatre t some points very vulgar. I never had an opportunity of watching Mr. he best I could do was to watch it in CDs and then DVDs. The powerful ed just a few scenes from it to an enlightened audience in Tiruchirapalli ed screening of some of the documentary films of Trikone Art Centre of dawned in our heads why the pro-war chauvinists in Sri Lanka are after
ersion of Sartre’s “Men without Shadows’ at Colombo. I was personally re has remained a great inspiration to me and I have read almost all his ad transformed the French play, set in the background of Nazi occupation iate resonance in the war torn Sri Lanka. It brought out the ugly, immoral
nly two of his documentary films: ‘Koothu’ and ‘Drums of Sri Lanka’. It of us felt ashamed of not having known such great artistic treasures inhala and Tamil peoples. We remained mesmerized by the captivating but intricate movements of the Tamil Koothu artists. The mask dance, I breathe life into the masks which remain ever watchful of you. All of us elous journey into the creative world of Sinhala people and also of their e art that binds us all together as Homo sapiens, fated to toil, suffer and .
S. V. Rajadurai

Page 23
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
“Art cannot be used to indoctrinate”
‘Kooththu ‘Drums o portrayin between Bhandaran screened o
While maj platform t pro-war gr propagand understoo theatre an war. Art is be used as Bhandaran to South In
Expressin caused by has only w no improv period. N tragic pro through th ruthlessly,
S. Aishwar

“Art cannot be used to indoctrinate”
, says Sri
ve been a the ethnic attempts ies don’t oing war. rted as an mmaking he horror
of War,’ umber of pidating ualties of he nation ays.
ast losing story. His n attempt e culture Even as a ncluding
‘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

Page 24
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 American, visited the island and took it upon himself to make some contributions to local culture. He invented a Buddhist flag for the Sinhalese, taught them to sing carols with a Buddhist message and introduced Vesak cards on the model of Christmas cards. Like many of our official ‘traditions’, these rituals and ritual objects were established within the past 100 years.
In 1948 Sri Lanka was granted Independence, a year after it had been won in India. The two nations went about rediscovering and re-legitimating their cultures in very different ways. In India, the multiplicity of traditions inspired wide-ranging acknowledgement of these diverse contributions. In Sri Lanka the complexity of its interrelated cultures was reduced to a narrow Sinhala Buddhist representation of the country’s heritage, thereby suppressing the Tamil, Muslim, Berger and Malay traditions which had survived the amnesias of the colonial period.
This politicising of Sri Lanka as a monocultural authoritarian state was initiated by S.W.R.D. Bandaranayake in 1956. There were many intellectuals behind this project to Sinhalize the country’s history and establish the parameters of a nationalist culture. Two of these ideologues behind the throne, Professor Sarachchandra and the famous writer Martin Wickramasinghe, produced influential theories and books about the Sinhala
A New Documentary Series From Dharmasiri Bandaranayak
By Prasanna Ratnayake
Buddhist saw thems
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ocultural S.W.R.D. re many alize the eters of a es behind e famous roduced e Sinhala
Buddhist folk tradition. These gentleman scholars saw themselves as serving a noble mission.
Professor Ediriweera Sarachchandra was a Professor of Literature at Peradiniya University. A cultural critic and a specialist on Indian dramaturgy and the work of I.A. Richards and T.S. Eliot; Eliot’s criticism of secular society resonated for Professor Sarachchandra. As Eliot was committed to the Catholic Church, so Professor Sarachchandra was committed to the Sinhala cultural project. In 1952 his authoritative book Sinhala Folk Drama was published by the Ministry of Cultural Affairs. It established the orthodoxy, the traditions and forms which would thenceforth be understood as the sole ‘authentic’ expressions of the nation’s culture. Although Professor Sarachchandra had carried out his research in all regions of the country, his book intentionally subsumed all non-Sinhala forms as elements of the Southern tradition.
Professor Sarachchandra then wrote two stage plays, Maname and Sinhabahu, based on his researches. To this day these dramas are performed over and over again, always greeted as classic works of our national heritage — always understood as the Sinhala tradition.
Theatre Education, this set of documentary films from Dharmasiri Bandaranayake, addresses the discrimination and exclusion at the core of this post- Independence political manoeuvring to establish our ‘traditions’. But these films are not just about

Page 25
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 1960 by the cr Sarachch Vadamod Batticaloa to fit int audience, creation b Dharmasi Wendt Th Sinhala fu issued to D productio
Tradition
The Sinhal as well as t instance w Jana Sange in 1984. A and docum this book Southern S obfuscatio
Kathakali
Theatre E and margi also cove Kathakali, music kno ground, te music and
Unsettling
This film, communit Indian dra Sri Lanka. embracing — politica inspiration liberated S
Doothika
This film i Holy Fam people had recent new experience went to Pa and slaugh wrote a pl as a dram playing B mance of

ur social, urses by r shared cate some in these
he Tamil , gestures Kooththu rmed all nd stage) and sing ho are in ththalam ers with ience sits
iththian- u, and in Kooththu iyar and ium stage ting and such as ththalam es, make- niversity late Prof. Prof. S. rgraduate the major with the than and g of this entator, o-volume lement of films on rama the
avanan’s sm in the rings and e trapped f Seethai, and the vanan by nge to his . It is also
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

Page 26
Dharmasir capture by the Chechen guerrillas, the Sri Lankan/ Beslan children keep their spirits up by continuing
over a peri to work on their Palestinian drama.
enabled hi
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.
dance-dra rediscove traditions. of drama cultural s discourses nation’s k and uniqu subtitles e important
Method and Significance
Sri Lanka’ understoo Compared with European producer directors,
systematic Dharmasiri works with simple equipment in a style
cultural more like guerrilla or Raindance filmmaking than
Dharmasi broadcast documentary. Although the economy of
responsibi his method is appropriate to the material and
our true t environments he is dealing with, his technical
culturally expertise and personal skills deliver a sophisticated
Lanka. set of films.
© Prasann
Documentaries and Feature Films of Dharmasiri Bandaranayake
01. Sarasvathie Pooja - Dance programme with Mu 02. Kooththu - Sri Lankan Tamil Traditional Dance D Introduced by Prof. K. Sivathamby - Tamil (22 m 03. Drums f Sri Lanka - (English - 22 minutes.) 04. Nonchi and Kinkini Kolama - Traditional Sinhala 05. Kathakali - Traditional Indian Dance Drama. 21
Tamil version and English version. 06. ‘Troy has Fallen - but its massage endures’ - a d The Trojan Women - Anti war Stage play Directe 16 Minutes with English subtitled. 07. Doothikavo (Mission Everlasting) Documentary 30 minutes / Tamil and English version 08. Unsettlimg Memories - An Indian Tamil play -
Directed by Mangai - with English subtitled.( 01 09. Kooththu Workshop - Sri Lankan Trditional Tam In Tamil with English subtitled. - 01 hour 38 min 10. Ravanesan - Sri Lankan Tamil Trditional Dance Directed by Prof. S. Maunaguru / 1 hour 58 min
1. Hansa Vilak - (Swan Lake) 120 minutes - Black 2. Thunveni Yamaya - ( Third Part of the Night ) 12 3 Bawa Duka - (Sorrow of Exsistence - Part One) 4. Bawa karma - ( Sorrow of Exsistence - Part Two

Lankan/ ontinuing
hout any kan peace and his children anti-war attracted entalists. nd to the play was
irectors, t in a style king than onomy of erial and technical histicated
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
Feature Films daranayake
ce programme with Music ( 8 minutes ) mil Traditional Dance Drama - vathamby - Tamil (22 minutes with English subtiltled lish - 22 minutes.)
a - Traditional Sinhala Folk Dance. Introduction in English dian Dance Drama. 21 minutes - h version. massage endures’ - a documentary film about i war Stage play Directed by Dharmasiri Bandaranayake - subtitled.
rlasting) Documentary film about Anti War school play - nglish version n Indian Tamil play - h English subtitled.( 01 hour and 18 minutes) i Lankan Trditional Tamil dance workshop -
titled. - 01 hour 38 minutes. Tamil Trditional Dance Drama - naguru / 1 hour 58 minutes with English subtitled
e) 120 minutes - Black & white 1980 rd Part of the Night ) 120 minutes - Black & White -1983 Exsistence - Part One) - 195 Minutes - Color f Exsistence - Part Two) - 135 minutes - Color

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TAMIL INFORMATION CEN
& VIMBAM
present
a collection of documentary fi Dharmasiri Bandaranaya
20 October 2007
Trinity Centre East Avenue, London E1

L INFORMATION CENTRE
& VIMBAM
present
ction of documentary films of rmasiri Bandaranayake
20 October 2007
Trinity Centre st Avenue, London E12