The Open-Air Theatre Festival of University of Peradeniya was held from 20th to 25th February 2011. The play Makarakshaya was performed on 23rd and received a large audience exceeding 5000 viewers.
Tuesday, March 1, 2011
The Dragon goes to Jaffna
What awaits our drama culture?
Senior dramatist Dharmasiri Bandaranayake delves into lessons learnt at Bharat Rang Mahotsav, New Delhi, and questions where our theatre is heading in the absence of a national cultural policy
By Randima Attygalle
Bharat Rang Mahotsav (National Theatre Festival), an artistic effort of the National School of Drama, New Delhi, instrumental in bringing dramatic skill of reputed artistes from all corners of the globe to one common dais, marked its successful 13th milestone in New Delhi last month.
Hybridity being the hallmark of this much acclaimed international theatre festival, it seeks to create a common platform for the veteran and the novice – the latter to imbibe the former.
Senior dramatist Dharmasiri Bandaranayake’s Makarakshaya, an adaptation of Yevgeny Shvart’s The Dragon, was honoured as the Sri Lankan representation at Bharat Rang Mahotsav which was concluded on January 22. The Nation spoke to Bandaranayake upon his return from Delhi, to share his experience of this ambitious theatrical venture and many a stumble block he and his cast had to battle with, in order to make the performance on a foreign soil a reality.
“Dramatists from all over the world can submit their work for this international drama festival, but to be eligible for performance, they have to be accepted by a panel of judges comprising leading Indian names in the field of drama. Makarakshaya was accepted for performance among nearly 80 plays selected for the festival,” Bandaranayake briefed about the selection criteria.
Bandaranayake’s maiden foreign performance at Bharat Rang Mahotsav was an experience of tri-fold dimensions for him. “It was no doubt a refreshing theatrical experience, to have had the opportunity of sharing and learning from one another’s experience, to be exposed to some of the icons in the filed of contemporary global drama and at the same time, it aroused lot of self-pity, experiencing the respect of the Indian Government and the step-motherly treatment of our own,” frustration unmistakable in his words.
Call for a national cultural policy
Claiming the largest participating cast of 38 artistes, Makarakshaya’s journey to New Delhi was by no means a rosy one. According to Bandaranayake, many appeals to the authorities at the Cultural Ministry to seek their support in this endeavour were fallen on deaf ears. “As an artiste who had been contributing to local drama, since early 70s, I questioned myself if I deserved to be called a Sri Lankan artiste, if I were a Sri Lankan citizen in the first place, to be receiving such step-motherly treatment by so called watchdogs of art and drama in this country,” Bandaranayake said further, extending his sincere thanks to SriLankan Airlines who responded to his plea with concessionary air tickets and Hivos-Netherlands for their financial patronage. ‘Festival of Dramas’ staged by Bandaranayake as a fund-raiser for the journey was washed away in the torrential rains which drenched the entire city which further handicapped the cast, who was salvaged by mutual friends through financial patronage.
Absence of a national cultural policy is identified as a lacuna which needs urgent addressing, believes Bandaranayake who draws a parallel with the Indian experience. “There has to be a yardstick which determines on what grounds certain artistes are supported and others are shunned. A national policy should not be tainted by party colours, but it should necessary be a watchdog of creative labour,” elaborates Bandaranayake.
Building bridges
A solid bridge of the ‘veteran and the amateur’ perceived at the Bharat Rang Mahotsav is another fine illustration of a rich theatre culture in breeding, lessons of which should inspire the local drama culture believes Bandaranayake. “Drama cannot thrive in isolation, the youth should be willing to be inspired by the veterans, the reason why we had a rich culture of drama nourished by artistes such as Sugathapala de Silva, Dayananda Gunawardene and Henry Jayasena. But sadly we don’t see an authentic drama culture today, but a culture no different to tele-scripts. In such a context, the ability of those going with the bandwagon to explore a classical play is a big question,” added Bandaranayake.
“Drama is all about sharing, exploring,” cites Bandaranayake who identifies a timely need of a harmonious blend between the Sinhala and English theatre. “This is a rejuvenating experience, to be enriched by the finer aspects of each school,” he cites. Bandaranayake, notable for his fine exploitation of the ‘English theatre skill’ in his plays such as Makarakshaya, Trojan Kanthawo, Ekadhipathi firmly believes in going beyond the conventional boundaries of drama-making.
“Staging a Sinhala play at the Lionel Wendt or harnessing predominantly the ‘English theatre skill’ does not mean that it’s catered to ‘Kolamba hathe’ theatre-goers, this is the narrow mindset which often goes against enriching a rich drama culture in the country,” Bandaranayake opined further.
Drama is beyond a mere script, it conceives actors of stature. “Many of our cinematic legends were moulded on the stage. For instance, when Tony Ranasinghe starred in Delowak Athara, we flocked to see not the cinema actor then but the sensational actor of charisma we saw on stage. Personality of an artiste is nourished through the calibre of art he advocates. We remember legends such as Henry Jayasena, Prof Sarachchandra, Sugathapala de Silva, Dayananda Gunawardene and many more of this stock of dramatists for the stature and integrity they sought to champion on the stage,” concluded Bandaranayake.
http://www.nation.lk/2011/02/13/eyefea3.htm
By Randima AttygalleBharat Rang Mahotsav (National Theatre Festival), an artistic effort of the National School of Drama, New Delhi, instrumental in bringing dramatic skill of reputed artistes from all corners of the globe to one common dais, marked its successful 13th milestone in New Delhi last month.
Hybridity being the hallmark of this much acclaimed international theatre festival, it seeks to create a common platform for the veteran and the novice – the latter to imbibe the former.
Senior dramatist Dharmasiri Bandaranayake’s Makarakshaya, an adaptation of Yevgeny Shvart’s The Dragon, was honoured as the Sri Lankan representation at Bharat Rang Mahotsav which was concluded on January 22. The Nation spoke to Bandaranayake upon his return from Delhi, to share his experience of this ambitious theatrical venture and many a stumble block he and his cast had to battle with, in order to make the performance on a foreign soil a reality.
“Dramatists from all over the world can submit their work for this international drama festival, but to be eligible for performance, they have to be accepted by a panel of judges comprising leading Indian names in the field of drama. Makarakshaya was accepted for performance among nearly 80 plays selected for the festival,” Bandaranayake briefed about the selection criteria.
Bandaranayake’s maiden foreign performance at Bharat Rang Mahotsav was an experience of tri-fold dimensions for him. “It was no doubt a refreshing theatrical experience, to have had the opportunity of sharing and learning from one another’s experience, to be exposed to some of the icons in the filed of contemporary global drama and at the same time, it aroused lot of self-pity, experiencing the respect of the Indian Government and the step-motherly treatment of our own,” frustration unmistakable in his words.
Call for a national cultural policy
Claiming the largest participating cast of 38 artistes, Makarakshaya’s journey to New Delhi was by no means a rosy one. According to Bandaranayake, many appeals to the authorities at the Cultural Ministry to seek their support in this endeavour were fallen on deaf ears. “As an artiste who had been contributing to local drama, since early 70s, I questioned myself if I deserved to be called a Sri Lankan artiste, if I were a Sri Lankan citizen in the first place, to be receiving such step-motherly treatment by so called watchdogs of art and drama in this country,” Bandaranayake said further, extending his sincere thanks to SriLankan Airlines who responded to his plea with concessionary air tickets and Hivos-Netherlands for their financial patronage. ‘Festival of Dramas’ staged by Bandaranayake as a fund-raiser for the journey was washed away in the torrential rains which drenched the entire city which further handicapped the cast, who was salvaged by mutual friends through financial patronage.
Absence of a national cultural policy is identified as a lacuna which needs urgent addressing, believes Bandaranayake who draws a parallel with the Indian experience. “There has to be a yardstick which determines on what grounds certain artistes are supported and others are shunned. A national policy should not be tainted by party colours, but it should necessary be a watchdog of creative labour,” elaborates Bandaranayake.
Building bridges
A solid bridge of the ‘veteran and the amateur’ perceived at the Bharat Rang Mahotsav is another fine illustration of a rich theatre culture in breeding, lessons of which should inspire the local drama culture believes Bandaranayake. “Drama cannot thrive in isolation, the youth should be willing to be inspired by the veterans, the reason why we had a rich culture of drama nourished by artistes such as Sugathapala de Silva, Dayananda Gunawardene and Henry Jayasena. But sadly we don’t see an authentic drama culture today, but a culture no different to tele-scripts. In such a context, the ability of those going with the bandwagon to explore a classical play is a big question,” added Bandaranayake.
“Drama is all about sharing, exploring,” cites Bandaranayake who identifies a timely need of a harmonious blend between the Sinhala and English theatre. “This is a rejuvenating experience, to be enriched by the finer aspects of each school,” he cites. Bandaranayake, notable for his fine exploitation of the ‘English theatre skill’ in his plays such as Makarakshaya, Trojan Kanthawo, Ekadhipathi firmly believes in going beyond the conventional boundaries of drama-making.
“Staging a Sinhala play at the Lionel Wendt or harnessing predominantly the ‘English theatre skill’ does not mean that it’s catered to ‘Kolamba hathe’ theatre-goers, this is the narrow mindset which often goes against enriching a rich drama culture in the country,” Bandaranayake opined further.
Drama is beyond a mere script, it conceives actors of stature. “Many of our cinematic legends were moulded on the stage. For instance, when Tony Ranasinghe starred in Delowak Athara, we flocked to see not the cinema actor then but the sensational actor of charisma we saw on stage. Personality of an artiste is nourished through the calibre of art he advocates. We remember legends such as Henry Jayasena, Prof Sarachchandra, Sugathapala de Silva, Dayananda Gunawardene and many more of this stock of dramatists for the stature and integrity they sought to champion on the stage,” concluded Bandaranayake.
http://www.nation.lk/2011/02/13/eyefea3.htm
Monday, February 28, 2011
13th Bharat Rang Mahotsav
A discussion was held about the play with the director, Mr. Dharmasiri Bandaranayake on the following day. Lecturers of the National School of Drama, students, theatre lovers and directors participated in this discussion.
Monday, December 13, 2010
Saturday, December 11, 2010
‘THE DRAGON’ goes to India
Dharmasiri Bandaranayake’s stage play vies for festival honours
The new production of veteran dramatist, actor and film director Dharmasiri Bandaranayake’s stage play Makarakshaya (The Dragon), has been selected to represent Sri Lanka in the Bharat Rang Mahotsav Theatre Festival (Indian National Drama Festival).
The festival will be held from January 8 to 22 in New Delhi, India.
It is organised annually by the National School of Drama in India.
Stage plays representing various countries will be staged in the festival.
All facilities, except travelling expenses, for the group of the play will be provided by the Indian Government. Budget of the travelling expenses for 40 members of the group including air tickets and delivery of stage properties adds up to Rs 1,250,000.
A theatre festival has been organised from November 26 to 28 at Lionel Wendt, Colombo, to raise funds to cover this expense to represent the play, Makarakshaya (The Dragon), in the Bharat Rang Mahotsav Theatre Festival (Indian National Drama Festival). The invitation provides Sri Lanka an opportunity to expose Sinhala drama to the South Asian cultural scene and consolidate rebuilding peace and reconciliation.
Following plays will be staged in the festival:
Eka-Adhipathi – November 26 – 6.45pm
This play obtained nine awards at the State Drama Festival including best direction, best actor, best set designing and best make-up in 1976 and 1,507 shows have been staged all over the country including the new production.
Cast: Dharmasiri Bandaranayake, Janaka Kumbukage, Malkanthi Jayasinghe, Sampath Thennakoon, Chamila Peiris, Daya Edirisinghe, Lalith Rajapaksha,Chulla Jayawardhana, Vasantha Vittachch, Leonard Cooray, Lalith Rajapaksha, Lal Peris, Upul Nishantha, and others Music: Premasiri Khemadasa
Makarakshaya (Sinhala translation of the play The Dragon written by Soviet playwright Yevgeni Shvarts) –November 27 – 6.45pm
This play obtained 11 awards at the State Drama Festival including best play, best direction, best translation, best music, best set designing, best choreography and best stage lighting in year 1985 and 911 shows have been staged all over the country including the new production
Cast: Dharmasiri Bandaranayake, Yashoda Wimaladharma, Dharmapriya Dias, Janaka Kumbukage, Lakshaman Mendis, Leonard Cooray, Chulla Jayawardhane, Warnathunga Senanayake, and others Music: Nadika Weligodapola, Choreography: Jehan Aloysius
Trojan Women (Sinhala translation of the play The Trojan Women written by Greek playwright Euripides) – November 28 – 6.45pm
This play obtained nine awards at the State Drama Festival including best direction, best supporting actor, best supporting actress, best set designing, best costume designing, best choreography, best stage lighting and best stage management in year 2000 and 161 shows have been staged all over the country including the Northerm and Eastern Provinces.
Cast: Anoja Weerasinghe, Yashoda Wimaladharma, Meena Kumarie, Neil Alas, Jehan Aloysius, Perny Roshini,Vathsala Ranasinghe, Upul Nishantha, Nilmini Buwaneka,Thilini Weerasinghe, Anusha Dissanayake,Jeevanie Kumari, Deepa Willorarachchi, Kumudu Prashanthi, Thushari Gunarathne, and others Music: Rookantha Gunathilake
Choreography: Jerome de Silva
Article Link : The Nation 21-11-2010 | Eye
Friday, December 10, 2010
Sri Lankan Representation of BRM
Makarakshaya has been selected to represent Sri Lanka at the 13th Bharat Rang Mahothsav Theatre Festival which will be held from 08th to 22nd January 2011 in Delhi, India. This festival is organized annually by the National School of Drama in India. Makarakshaya will be performed on 14th January and will be an immense opportunity to take Sri Lankan theatre to the international level. Stage plays representing various countries will be staged at this festival.
Tuesday, September 21, 2010
Makarakshaya embodies a universal theme
 |
 Yashoda |
The story is woven around Elisa, an ordinary girl who is soon to be taken away as a bride by the city’s guardian, The Dragon. She is the ‘chosen one’ for the year, The Dragon’s choice, merely because of her beauty. She reluctantly accepts her plight and tries to prepare herself mentally for the unforgettable day. It’s a public secret that, once chosen, a girl will never return.
A handsome young worrier, Lancelot, without the shinning armour, walks in to this city. He sees the depression amongst a certain section in society. He wants to help change the plight of young Elisa. The story then moves on to depict the means deployed by Lancelot in his efforts.
What intrigued me most about this play is its relevance to the present times. Besides depicting the plight of a young girl, this play also draws on a number of other important issues.
One such is the corruption in governance. This is an issue that is seen in many countries around the world, and an issue that is been pressed to remedy, calling for transparency in governance. Another, is simply power. How this tool is utilised by the one who has access to it, to get their work done and mostly to achieve their selfish goals.
There are certain similarities and also many differences to be seen in this second production that can be mentioned. Dharmasiri Bandaranayake himself is seen acting Lancelot, just like he did, so many years prior to this. Whilst the character of Elisa is played by Yashoda Wimaladarma, in this time’s staging.
 A scene from Makaraakshaya |
I found a note Bandaranayake has written way back in 1985, for the first production of this drama interesting. In this note, he stated that he is staging this drama due to the disgust and sympathy he felt thereafter, towards the people of society in seeing them turning a blind eye to injustice, whilst knowing the truth.
What was most interesting for me, to have observed is that that issues that were relevant to a certain era are over time, relevant to another place and time in history. The issues discussed in this play and the portrayals of character, I feel, are universal.
Directed by Dharmasiri Bandaranayake for the second time, Makaraakshaya known as The Dragon in English is a play written by Soviet playwright Yevgeny Shvarts.
MAKARAKSHAYA - Pricked the conscience with finesse
11-07-2010
Banadranayake, as Lancelot, eliminated the dragon or Makara uthumanang, in a single-handed battle he was engaged in for over 23 years — certainly making one’s eyebrow raise. The youthful persona of Lancelot, who took to the stage in mid ’70s, was skilfully revived by Wasantha Wittachchi, the age of the artiste becoming secondary to the ‘goods delivered’ with such a flair
By Randima Attygalle
Walking into Parakramabahu Vidyalaya in Narahenpita, where rehearsals of Dharmasiri Bandaranayake’s Makarakshaya were in progress on a Monday afternoon in June, held no sign of an eventful ending of a day. With a round of refreshments, the rehearsals commenced, dragon or Makarakshaya’s fiery thud engulfing the vicinities. The ‘sinned mortals’ of a city terrorised by a blood thirsty creature, shriek in mortal fear. In a split second, the dramatist’s thunderous boom itself silences the mortals present at every corner of the hall, suddenly oblivious to the blood-sucking mosquitoes of the real world at dusk. Emotions run riot, frustration of an artiste seeking perfection is felt heavy in the air, a mobile phone is scattered into fragments, some picking pieces in a futile attempt to re-assemble… Young minds of the cast assume (fortunately) that it’s an integral part of the drama itself! Bandaranayake roars with clenched fists, urging to bring out the potential of each artiste…
A fortnight later, at the Wendt, when Lancelot killed the dragon and festivity followed in every nook and corner of the once terrorised city, backstage flooded with trickles of merriment, thumping on the backs, words of congratulations, few of us who witnessed the labours of a creation in a humble school hall, a dramatist’s anxiety and the crusade till the final curtain draws, shared a knowing smile - that ‘it was all worth it.’
Bandaranayake proved his theatrical mettle once more to the first-viewer of much acclaimed Makarakshaya, and undoubtedly, to the faithful viewer of yesteryear, lost in a reverie of fond memories. A political satire in its best, subtlety closer to the contemporary audience than ever before, Makarakshaya manifested a persuasive theatrical attempt, a footprint left in the soul of the theatre lover, not easily concealed.
Banadranayake, as Lancelot, eliminated the dragon or Makara uthumanang, in a single-handed battle he was engaged in for over 23 years- certainly making one’s eyebrow raise. The youthful persona of Lancelot, who took to the stage in mid ’70s, was skilfully revived by Wasantha Wittachchi, the age of the artiste becoming secondary to the ‘goods delivered’ with such a flair.
Dharmapriya Dias of Machan fame, added another feather to his cap as nagaradhipathi or the mayor, stealing the show, versatility apparent in every gesture. The complex story line delivered to the audience, with effortless portrayal by Dharmapriya, together with Chulla Jayawardana as the cat, evoked laughter, not merely at verbosity coupled with witty repartee, but at the rulers attempting to achieve their ends at the cost of those ruled. Needless to say that Lakshman Mendis reaped the harvest of his experience, stepping into the shoes of the dragon with ease.
Sadly, the drama failed in the hands of Elissa, one of the lead roles portrayed by Yashodha Wimaladharma. Although the feminine charm of Elissa was given life by Yashodha, the vigour of the character- the very cornerstones of it were not done justice. Her voice barely audible, contradicted the basic rudiments of stage play. In the light of the former artistes playing Elissa (Swarna Mallawarachchi and Ramani Bartholomeusz) Yashodha’s portrayal appeared as one grossly lacking ‘life’.
The mastery of the director deserves credit in localising the drama, whilst preserving the original flavour of Yevgeny Shvart’s political satire, carefully exploiting devices such as costumes. Little known faculty of Bandaranayake as a dress designer, deserves compliments, the costumes of the cast proving one-of-a-kind, with chic added to by the flawless cut of Chiranthi Mallikarachchi- the maiden effort of the latter in an endeavour of this nature, which truly deserves encouragement. The headpiece of the dragon, a masterpiece by Vimal Jayawardana, could send waves of shudder among the audience, while the choreography of Jehan Aloysius, struck a fine blend of anxiety and festivity, latter prominent in the celebrations marking the end of the dragon.
Despite the conscience realising the truth, the human race often leads an existence of indifference, buffered by façade. Makarakshaya certainly pricked the conscience of such superficial existence. The dragon was annihilated, yet, can it extend to the dragon within all of us? Shvart once questioned, so did Bandaranayake. The artistic effort of addressing the human conscience is a mammoth task that no other medium can attempt to attain, which Makarakshaya did with such finesse.
Makarakshaya will be staged once more at Lumbini Theatre on July 23 and at Lionel Wendt on August 15
(Photo credit: Udeni Alwis)
http://www.nation.lk/2010/07/11/eyefea5.htm
Shows of Makarakshaya
23rd July 2010
on
2.30/6.30 p.m
@
Lumbini Theatre, Havelock Town, Colombo 5.
15th August 2010
on
6.30 p.m.
@
Lionel Wendt Theatre, Colombo7.
New Dragon - අලුත් මකරා
By: Bhagya Senaratne
“What is drama but life with the dull bits cut out.”
Alfred Hitchcock
Alfred Hitchcock
Makaraakshaya (The Dragon), a highly anticipated theatre production was restaged after a lapse of 25 years! Staged recently to a full house at the Lionel Wendt, I, for one, certainly forgot where I was during the entirety of the play.
Recommended by a friend to watch this, I was eager to see what the hype was all about! My enthusiasm was well worth it!
The story is woven around Elisa, an ordinary girl who is soon to be taken away as a bride by the city’s guardian, The Dragon. She is the ‘chosen one’ for the year, The Dragon’s choice, merely because of her beauty. She reluctantly accepts her plight and tries to prepare herself mentally for the unforgettable day. It’s a public secret that, once chosen, a girl will never return. A handsome young worrier, Lancelot, without the shinning armour, walks in to this city. He sees the depression amongst a certain section in society. He wants to help change the plight of young Elisa. The story then moves on to depict the means deployed by Lancelot in his efforts.
What intrigued me most about this play is its relevance to the present times. Besides depicting the plight of a young girl, this play also draws on a number of other important issues. One such is the corruption in governance. This is an issue that is seen in many countries around the world, and an issue that is been pressed to remedy, calling for transparency in governance. Another, is simply power. How this tool is utilised by the one who has access to it, to get their work done and mostly to achieve their selfish goals.
There are certain similarities and also many differences to be seen in this second production that can be mentioned. Dharmasiri Bandaranayake himself is seen acting Lancelot, just like he did, so many years prior to this. Whilst the character of Elisa is played by Yashoda Wimaladarma, in this time’s staging.
I found a note Bandaranayake has written way back in 1985, for the first production of this drama interesting. In this note, he stated that he is staging this drama due to the disgust and sympathy he felt thereafter, towards the people of society in seeing them turning a blind eye to injustice, whilst knowing the truth.
What was most interesting for me, to have observed is that that issues that were relevant to a certain era are over time, relevant to another place and time in history. The issues discussed in this play and the portrayals of character, I feel, are universal.
Directed by Dharmasiri Bandaranayake for the second time, Makaraakshaya known as The Dragon in English is a play written by Soviet playwright Yevgeny Shvarts.
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