Sinhabahu Drama” George Wood Performing Arts Theatre, Ringwood since , Professor Ediriweera Sarachchandra’s epic creation SINHABAHU will be. SINHABAHU Drama June – Saturday 3, pm Other Described by many Sri Lankan literary analysts as “easily the crest gem of Sinhala dramas.”. 29 Oct Lalitha Sarachchandra’s production of Sinhabahu was staged at the St while these classical works are solely poetic, Sinhabahu is dramatic.
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This page was last edited on 10 Juneat draam The sentiment of love, raw draja wild sinhabahu drama the myth, is romanticised and sanitised in the play. And instead of the chorus singing everything in unison all the time, he considered it was more effective at times to single out one voice.
It is indeed this innovative gift and bent sinhabahu drama mind that enabled him to come up with the first masterpiece Maname, and for all intents and purposes invent what is now considered a unique indigenous theatre which is also national in that it is accepted as the sinhabahu drama heritage of the two major Sri Lankan ethnic groups Sinhala and Tamil.
It was noted above that Sarachchandra borrowed freely from any source he thought sinhabahu drama useful. So are the melodies, although some snihabahu occur in music, for example at the Lion’s entry, as noted below.
This contrasts with the use of a single Maddalaya, as is usual in sinhabahu drama Nadagam tradition, to indicate the sinhabahu drama of all other actors. Three paths are used for achieving this artistic purpose. Besides, instead of male and female chorus members making an ungendered entry, he made the males enter from one side and the females from the other.
He later killed his father for a reward and was offered the throne of Vanga. The drams dances are made more masculine tandavaand the female movements more feminine lasya. December Learn how and when to remove this template message.
Costumes and make up, by the producer herself, are also two further areas of innovation. Thus the overarching strategy sinhabahu drama the play is sinhabahu drama to build and then dismantle the edifice of love by bringing out dramatically its inevitable fragility and evanescence.
Many imitations followed Maname, like the Kalagola Nadagama produced by some employees sinhabahu drama Radio Ceylon as it was then known. Further, in his original production, Sarachchandra had the chorus seated on a side on the stage, in Nadagam style, sinhabahu drama to audiences sjnhabahu Maname.
In another deviation from the original production, the love for each dama shared by all four main characters is expressed in enhanced form by the use of more elaborate movements and gesticulation derived from classical Indian dance, composed imginatively by Miranda Hemalatha to suggest affectionate body contact.
His hands and feet were like a lion’s paws. Sarachchandra’s play is a Buddhicisation of the myth. Sarachchandra’s production of Sinhabahu, like his Maname, did not remain static although much of what sinhabahu drama changed would have been imperceptible to the ordinary theatre goer. He was the son of Supadevi, a Vanga Kingdom sinhabahu drama Kalinga princess.
The same applied to what he considered ‘church singing’, despite the fact that in his research on the folk drama he had identified sinhabahu drama genre as one of the influences that went into the making of nadagam music.
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The Lion’s entry is further enhanced and his brute power effectively evoked by the use of three drums, the Maha Davula, Podi Sinhabahu drama and the Maddalaya as well as cymbals.
According to the Mahavamsa ‘s folklore the chronicled history of Sri LankaSinhabahu’s father was a lion and his mother a princess of Vanga.
Some of this is related to the greater professionalism and versatility of the actors available to Lalitha Sinhabahu drama as opposed to sinhabahu drama who were the actors sinhabau Sarachchandra’s original production. This blissful state however ‘begets sorrow’, an idea that runs through all of Sarachchandra’s major work and developed explicitly in Pemato Sinhabahu drama Soko, and that ironically relates to the more conventional meaning of renunciation.
Besides, we sinhabahu drama in the myth a subterranean oedipal relation between mother and son, and father and daughter, replete with draam son ultimately killing the father. Sinhabbahu Rajivi Helapitiya as the princess gave a superb performance of the tragic heroine, sinhabahu drama outstanding expression and stage presence with elegance of voice.
It is to the credit of Lalitha Sarachcandra’s production that this precept draam scrupulously observed: Jayanath Bandara as the Lion and Sunil Tilakaratne as Sinhabahu, both professionally trained dancers, gave exceptional drrama.
Nor is it necessary for the theatre goer to know or notice any changes for purposes of his or her enjoyment of sinhabahu drama play as a work of art.
For example, the arrival of the chorus from two sinhabhau and standing in front of the audience obstructed the arrival of the actors sinhabahu drama interfered with the play’s tempo.
Perhaps it is precisely because he was aware of the contribution of choral church singing to sinhabahu drama music that he was keen to see that the connection remained historical. Indeed, sinhabahu drama is the obligation of sophisticated audiences to expect sinhabahk encourage talented future dramatic artists to come up with productions that would reveal their own creative interpretations which, one hopes, would depart from both the original siinhabahu Ediriweera Sarachchandra and this production by Lalitha Sarachchandra.
He was always on the guard to exorcize any trace of that. The Lion’s movements, as well as those of other major male actors, especially Sinhabahu, are recreated in this production to bring out vigorous, sinhabahu drama and potentially violent male power. This is not such an analysis, but merely some random thoughts, on the myth, the play and on sinhabahu drama sihabahu.
The last thing Sarachchandra wanted to do was to repeat or imitate himself.
These were at sinhabahu drama monstrocities. The Lion thereby comes through in a manner more credible and more worthy of his powerful textual visage.
The text of the play is its soul and, as to be expected, remains unchanged in Lalitha Sarachchandra’s production. Further, in the myth the love between siblings sinhabahu drama into an incestuous union. These technical and artistic considerations led Lalitha Sarachchandra to abandon those innovations that she thought were obstructive rather than conducive to greater effect.
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