✍Namal Bandara
BA(University Of Colombo)
MA (Rabindra Bharati University)
Introduction
Here we are trying to explain the dramatic art of Sri Lanka after the colonization. But our main focus is to analyze how Rajitha Dissanayake has manipulated the drama of Sri Lanka with the political changes in the country since the 90s. As such, we are only focusing on the major diversions of drama in Sri Lanka after colonization and orientation towards Rajitha Dissanayake.
Dramatic Art of Sri Lanka after the colonization
It is not uncommon for Sri Lankan dramatics to be seen after colonization. Accordingly, Ediriweera Sarachchandra’s drama style developed around the University of Peradeniya. Thus we had a very successful university drama tradition. To identify post Colonialism in Drama in the modern context, one should understand the social, economic background of it. Especially in a country like Sri Lanka, differences in society that took place within the timeline has made an impact on art. Being a country under the rule of others for years’ chances made in social-economical contexts are inevitable. From the Dominion independent situation after 1948 upon now lifestyles have absorbed Colonialism. Especially in Asian countries differences that took place socially, politically, culturally can be differentiated.
Economic prosperity always contributes to trends in arts to develop. That is evident in the art pieces from the Anuradhapura era in Sri Lanka. But it doesn’t mean that economic downturns don't affect certainty. Leo Tolstoy was a writer from the Tsars period of ruling in Russian. In the process of fighting for independence, towards the latter part, it is visible that the ruling class was to secure.
In the process of fighting for independence, though there were violent breakouts at the beginning looking towards the end that was not the case. The ruling class of Sri Lanka was trying to secure their positions and meanwhile after WWI.
Britain could no longer sustain their colonies so offers independence. Thus independence Sri Lanka gained was because of the world political changes. Within a short period since independence, a lot of social-political changes took place in Sri Lanka. Especially the language act in 1956 shifted the direction of the nation. Following the uprising of the political movement in the '70s, youth movements and mobs in the ’80s are highlights. And all these political events results are depicted through art. Violence and racial discrimination in the process of decolonization are common to see in even in India, Pakistan, and Bangladesh. Drama in Sri Lanka has mainly evolved from means of worshipping to Gods.
Its turning point has been in the 21st century mainly because of Ediriweera Sarachchandra. His drama “Maname” became popular as it was unique from all the others that were upon then. Sarathchandra also had a Marxist approach in his workpieces. He believes that the social reality about the physical world is presented through art and he also says art doesn’t serve the oppressed class but serves the rich and ruling class for their entertainment. Then from English learned middle class enjoying Drama’s from the west is the example he presents.
After 1956 patriotic ideologies were rapidly spread. As a result, even “Maname’ becomes a great contribution to it as the Sri Lankan audience embraces it, as a turning point Drama. The contribution of Dayananda Goonawardana shouldn’t be either. Their works are “Parassaya, Nari Baena, Amethi Pattama, Bakmaha akunu, Jasaya Saha Lenchina, Gajaman puwatha, Madura Jawanika, Ananda Jawanika’. Then it continues to change its route again from works of Sugathaala De Silva.
In all works roots from local masterpieces were visible. Specially in English Drama from the University of Peradeniya, Tamil Drama that emerged in a Post-colonial era. Considering post-colonial works even in other countries rebellion, independence, identity, loyalty to roots are common themes. Sri Lankan Tamil Drama has always been a platform to present and discuss the issues of their community by Prof. Vidyanand, Prof. Sivathamni, Prof. K. Kailasapathi.
“The brilliance of theatre is that it represents experience and offers us the conventionalities by which the representation can be interpreted. We do not enter a theatre as if it were a time machine in which past experience is repeated……………. Experience represented in the theatre is dressed with the same particularities of everyday experiences and has the larger than itself quality of everyday experience, bus is transformed by being selected and shaped for interpretation.”
(Performances, 1996)
After the 1970’s again the direction changes. The above-mentioned statement gives an insight into it. But unless understanding what is reproduced through Drama from the current context it would be pointless to discuss further. 80’s 90’s youth rebels, Political instability definitely affected in our art and is visible in works of Sugathapala De Silva, Dharmasiri Bandaranayaka etc.
Dhawala Bheeshanaya made in 1988 is for the victims of the insurrections in a chaotic time period. Rebel groups and political repressions was a tragedy marking a crucial moment in history. “Bogamuwa” in 2003 gives the background of the 80’s 90’s.
“In an approach of the postmodern era, Vimal Dissanayake's opinions are that this alone is a school of thoughts. It presents of humans, society, history and producing knowledge. And it also contributes in understanding art.”
(Disanayake, 2003)
Dramas that were produced in the post-colonial era highlight, 1971 Janatha Vimukthi Peramuna1[1] (One of Political party in Sri Lanka) insurrection and introducing an open economy in 1972 which resulted due to the issue of identity as a nation. Themes of “suba saha yasa , Manaranjana Wada Warjana , Dunna Dunugamuwe , Modara Mola , Kora saha Andaya” are used to resist the state. “Suba saha yasa” has a more ironic criticism. These are followed by significant works by Dhananjaya Karunarathne (Till valentine comes), Rajitha Dissanayake (Weeraya marila, Adara wasthuwa, Siriwardana family, Nathuwaa bari Minihek”. These works have been a turning point in Sri Lankan drama.
Drama by Rajitha Dissanayake
Our focus here is to investigate the content of Rajitha Dissanayake's plays, which go back to colonialism. Rajitha Dissanayake has a more realistic approach through his works. In his Drama” Nathuwama Beri Minihek” question the current political situation, Buddhist – Sinhalese nationalistic views, Political authority and the rule of Rajapaksha Regime[2]. In his “Siriwardana family” it’s about the behaviour of media in a society consuming products and producing for consumption. And especially the contribution of media to spread racism. But the reality is that Drama nowadays is that it is only there on Drama festivals for a very limited crowd. A shift of themes focused and discussed also could be noticed. Younger producers are more prone to present social conflicts, human bonds. Still, the presence of the impact of colonialism is evident in all these productions.
urbanization, the destruction of party politics, the 1994 presidential election, the militarization, the privatization of the media and the corruption. Through his (Sakwadawala) drama, he tries to focus on the middle class. He discusses the social changes that occurred in Sri Lanka in 1994. His ( Sihina Horu Aran) is about the dreams of middle-class youth and their efforts to achieve them. Ultimately, all lives fall prey to liberalism. His (Bakamuna Veedibasi) drama is based on the militarization of urbanization. It discusses the abuse of power. The drama, created in 2011, describes the post-war and economic and social behaviour of Sri Lanka during that period. His (Aadara Wasthuwa) drama is, It explores the interplay between education and party politics, as well as journalism. The media plays a major role in the neo-liberal economy and the topic is brought out by Rajitha Dissanayake.
It should be noted that his plays contain contemporary social dynamics. He is inspired by contemporary socio-political issues. He got into theatre in the 90s. There were many challenges in society at that time. Similarly, the (Siriwardena family) is trying to bring him into the drama of the neo-liberal economy. His play recites the emptiness of human life in a consumerized society. Rajitha Dissanayake discusses how the image of the media is extremely problematic in society and the reality of media images. In this way, we can see that Rajitha Dissanayake's plays have a contemporary social crisis. This trend is a new trend in Sri Lankan dramatics, especially after the 90s.
In this respect, it is clear that the dramas of the '90s before and after were completely different. This is because, after the colonization, the drama was intertwined with the politics of the left, especially in the 70s and 80s, and then with the defeat of the 89th Janatha Vimukthi Peramuna (JVP)[3]. Similarly, Sri Lanka's drama industry can discuss the post-90s economy of the country becoming more liberal and after 2000 it will be neo-liberal. Rajitha Dissanayake is a leading Sri Lankan dramatist who has directed his plays in the neo-liberal economy. Major social problems in the country have taken on a different shape, especially after the 90s. The reason for this is the emergence of LTTE terrorism[4], unemployment, nationalism, and a market-driven economy.
“In a war or other violent conflict, the attention of society is usually only the visible plane. This apparent representation is primarily due to the violent behaviour of the organizations of the conflict parties. More concretely, it was the violent behaviour of the men who were called into the arena by the forces involved. But there is a structural basis that goes to the visible plane and represents the root causes of the violent conflict and is the driving force behind it. It is invisible.”
(Wijesiriwardhana, 2010:73)
Wijesiriwardane's view is that when there are conflicts we see them in society but sometimes they are invisible. This is what we see in the drama industry, especially after 2000. The themes of these plays are these invisible conflicting tensions. Rajitha Dissanayake has tried to show how these clashes have been placed in education, in the media, and in political parties. In this situation, the change of the audience is also important to us. Before the '90s, the audience dealt with leftist politics. But after 90, they enjoyed the benefits of the open economy. They were very much into consumerism. Because of this the audience context also changed from colonialism. Thus we can see that there is a clear section of Sri Lankan dramatics after the '90s. After the defeat of the JVP in the aftermath of the JVP's political debacle, the society has been following the victories of the open market. The relationship between the state and religion and the relationship between the state and the nation has drawn close. Rajitha Dissanayake has mentioned these facts. Dissanayake's dramas are about the dynamics of society. What Dissanayake brings to us here is the consequence of the weakening of liberation politics in a society in general. He brings about that crisis by bringing social issues into his plays.
“One of the consequences of living in a capitalist society is that profit is the only criterion for value. In such a system, only what can be profitable.”
(Sumanasekara, 2016, 01)
According to Sumanasekera, we have the idea that everything in a society is a profit. There, all the values of society become profitable. Education and health are all focused on profit. Thus, after the '90s, society was oriented towards this for-profit society. Dissanayake's dramas are oriented towards that theme. It is a dramatic trend that calls into question neoliberalism. That is how Dissanayake identifies contemporary society. The most important point we can identify is how Dissanayake's plays deal with contemporary social issues. This is clearly different from Sugathapala de Silva's play.
Conclusion
Thus, by 1950, Sri Lanka's drama had reached a critical juncture. At that point, Ediriweera Sarachchandra put it into a modernist style and the university drama began. It was also the politics of the left that had a major influence on Sri Lankan dramas in the 70s and 80s. But after 90, the country's dramatic art deals with the liberal economy. Rajitha Dissanayake is one of its widespread manifestations. This is because the social issues and the themes of his plays are bound up with that liberalism. There we see the new theatre form. As such, what we have today is to understand the politics of human liberation through these plays.
References
· Bogamuwa Chandrasiri, Abhinaya (9 Volume), Department of Cultural Affairs Publications, Baththaramula, 2003.
· Alain Badiou 2011&' The Meaning of Sarkozy" Sanhinda Publishers" Nugegoda
· Dissanayake Wimal, Nawa Wichara Sankalpa, Wisidunu Publishers, Boralesgamuwa, 2004.
· Dissanayake Rajitha, Weeraya Marila, Mata Wedi Thiyan Nadda, Wijesooriya Publications, Mulleriyawa, 2003.
· Jayawardhana W, Adasiyawasaka Deshapalana Satahan, Self Published, 1999.
· Wijesiriwardhana Sunil, Purawasi man peth, Colombo, FLICT, 2010.
Web
· https://thuppahi.wordpress.com/2013/04/11/postcolonial-politics-and-history-as -dramatized-in-the-theatre/
·file:///C:/Users/Gihan%20Bandra/Downloads/Ranjini%20Obeysekera%20Vol. XVII%20&%20XVIII%201991-1992%20No.01%20&%2002.pdf
· https://bavaweb.wordpress.com/2017/09/16/නැතුව-බැරි-මිනිහාගේ-සාංද/
[1] http://www.jvpsrilanka.com/english/about-us/brief-history/
[2] This is what we call the regime of President Mahinda Rajapaksa. He was President of Sri Lanka from 2005 to 2015 and defeated the LTTE militarily in 2009.
[3] The Janatha Vimukthi Peramuna (People's Liberation Front), often abbreviated as JVP is a communist and Marxist–Leninist party and political movement in Sri Lanka. The movement was involved in two armed uprisings against the ruling governments in 1971 (SLFP) and 1987–89 (UNP). The movement entered democratic politics by participating in the 1994 parliamentary election as a political party and has been a third party in Sinhalese Sri Lankan politics since then.
[4] The Liberation Tigers of Tamil Eelam was a Tamil militant organisation that was based in northeastern Sri Lanka. Its aim was to secure an independent state of Tamil Eelam in the north and east in response to the state policies of successive Sri Lankan governments towards Tamils.
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