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When
the masks come alive One of the innovations in this particular play lies in the integration of aspects of ritual theatre of Sri Lanka, through dance sequences that use stock characters from mask theatre and dance traditions, which have been worked into the main storyline. This falls in line with one of Jehan's primary objectives where this project is concerned which is to merge the Sinhala and English theatre tradition and carry it forward through The Ritual. To do this he turned to mask theatre - one of the oldest forms of theatre, which has a place in ritual theatre traditions around the world. Masks have always been intriguing and bring with them an aura of both mystery and comedy. Used primarily to hide an inner emotion, The Ritual, brings to life masked characters who instead of hiding an emotion are representative of what the live actor cannot articulate. However, they never remain static and one-dimensional for within the play they have a very specific journey; along with the actor the masked character also makes a journey, which sees them become more human as the play progresses. Mask theatre has also been traditionally a dramatic forum used to subvert authority - both colonial authority and the social hierarchy within the village. Within this play the humour element is explored through the masked characters so that they provide the safe space for the live character to subvert authority. The process of finding just the right character for the dance sequences in the play was one that evolved over a period of time. The research began with Sarachchandra's book 'Traditions in Sri Lanka' where Jehan came across the Maru Yakshaya, a Thovil character found in the daha ata sanni ritual used to ward away illness. An interview with Professor Anura Wickremasinghe of the Sinhala Department of the University of Colombo and a trip to the Bandula Wijesuriya Kolam Museum and Dance School, Ambalangoda saw the characters Lenchina, Nonchiakka and the Ada Bera Karaya from the Kolam tradition enter the play. Each of these characters became 'almost-but-not-quite' representations of characters on stage. With the entrance of these characters the dance sequence moved away from being just a technique and began to work at a more integral level within the play. Lenchina became the double for Kalani (played by Anushka Pereira) - the young bride of Chandrasekera (played by Rajiv Ponweera) who comes with no dowry, while Nonchiakka is the parallel of Karunawathie (played by Tracy Holsinger), the indomitable mother-in-law. The character of the Ada Bera Karaya takes off from Chandrasekera who is a dancing teacher by profession. The story of The Ritual revolves around power play within the nuclear family which is complicated further by the sudden assertive streak displayed by Sujeeva, Chandrasekera's younger brother (played by Leon Arendtsz). Functionally, the dance sequences serve the purpose of bringing out the psyche of Kalani, and in this sense is the manifestation of her mind. At the same time, however, each sequence gives a different take on what happens in actuality in the scene. In fact, if the four dance sequences were to be followed divorced from the main storyline, one would find that the narrative is entirely different. In one dance sequence we find Lenchina burnt by her mother-in-law and husband, which never happens in the storyline. However the sequence is integral to the main storyline because it is one of the Kalani's deepest fears. Using a mask is always tough, says Jehan. For one the range of vision changes and this takes getting used to. In addition to this each mask comes with an expression that is static; the trick is to bring out the subtleties and nuances through body language. The entire body has to feel the emotion for the mask to take it on. The process of integrating the dance sequences within the play involved the actors and masked character learning and drawing from each other so that ultimately the two aspects of the play are inextricable. On the whole the project has involved a lot of learning and experimenting - for all concerned - that's probably what makes each show special.
Taiwan
in step with Lankan dance "We came about the Art Forum quite by chance," smiles Upeka, daughter of legendary dancers Vajira and Chitrasena. "One of the groups had backed out and the organisers were in search of another dance company. They called world-renowned dance critic Dr. Sunil Kothari and he recommended us. Soon 17 dancers from Sri Lanka were on their way to Taipei." They had just three weeks to get their act together. "We decided to perform Nrithanjali but the problem was that the original Nrithanjali requires 30 dancers and drummers," says Upeka. After much deliberation, 17 were chosen and the dance and drum routine adapted to suit the new numbers. The Asia Pacific Art Forum 2003 was held following the success of the first Asia Pacific Traditional Arts Forum held a few years ago. The theme of this year's forum was "Silk Road of the Sea: the Cultural Arts and Industries of the New Age". The forum this year was held in collaboration with the Taipei National University of the Arts and brought together experts and scholars from Middle Asia, India, Southeast Asia and Northeast Asia for the Asia Pacific Arts Forum Symposium, the Asia Pacific Textile and Dyeing Workshop and the Asia Pacific Plucked Instrumental Music Gala from October 12 to the 26. Many of the countries represented had few cultural contacts with Taiwan before and the forum thus promoted better artistic and cultural interaction. "One of the biggest achievements for us when taking our shows around the world is the response we get from the viewers. Most see Sri Lanka as a country torn apart by an ethnic conflict. Once the performance is over they realise that arts and culture play a big role in our country," says Upeka, who is now leading the company founded by her parents. Promoting Sri Lankan culture in the form of dance proved to be their greatest satisfaction. "Our presentation was one you could simply watch and enjoy," smiles Upeka, "The movements were such that anyone even those who did not understand the language would be able to relate to the dance.The performance included Drums and Chant, Mask Dance, Gajaga, Bherivrunda, Folk Songs, Asipatha (Sword), Nrithatharanga, Ves, Kolam, Ukussa, Thridara, Thelme, Ridmaranga, Thalam and Orchestra. "The final performance was that of the drum orchestra which was enthusiastically received." Upeka goes on to say that much of the enthusiasm that they were blessed with at the performance was due to the young blood, the new female dancers in the troupe. Their success at the event has been well evidenced by the large number of Taiwanese now wishing to travel to Sri Lanka to study our local dances. "It was a very uplifting experience,” adds Upeka. Of little everyday
things that matter a lot Two Times Two Is Two is the story of a father and son, a mysterious note that brings them together, the hope of a reunion and the disappointment of a chance missed - little things that happen everyday. The first act of the play focuses on the two characters in a rather disjointed and awkward conversation of sorts, while the act which follows brings to light the 'unsaid' bits of the conversation which gives an insight into the innermost thoughts and feelings of the characters through an exploration of the mind. For writer and director Ruwanthie de Chickera, the script started off as an experiment with a technique, which saw the first act unravelled through what takes place in the second. Says Ruwanthie, "This technique was what I really wanted to explore, but once I started, the story became really important. Everyday we say and do things in complete contrast to what we are thinking - which make the ingredients for drama." One of the challenges with this script is that, as Ruwanthie puts it, acting becomes almost like a dance because there is so much synchrony on stage between the actors. As a result the technicalities of blocking, placing and timing need to be worked out before the emotional aspect is worked in. The end result: "The first and second act has to be identical even though there are two more actors in the second." Prasad Pereira plays the old man Derrick, while Keshan Thalgahagoda enacts his mind. Derrick gets to 'the bench' which is set out as the meeting place in a note he receives from a mystery woman. The note brings with it a little bit of hope for a man old and alone. Says Prasad, "My character has lived alone for most of his life; he's lonely, angry and scared. On the surface it looks like all I have to do is sit on one end on the bench, act old and disgruntled but there's a lot that goes on inside. I talk to myself occasionally, grunt and groan a lot, but I convey a lot through expressions - subtle outward expressions." And then, of course there's Keshan who enacts, in the second act, the innerself. "Keshan is more than just 'my mind', it's a very special relationship," says Prasad - and that much was obvious. For Keshan the scene is "an entire lifetime reflected in the present mindset". Having found himself with the task of playing what is not tangible he says, "When you are not a physical entity, you are not restrained by physical actions. I am not restricted - I get to run around the stage and have fits of anger. What is difficult is that I have to bring out all the varied emotions the character goes through." Nanda Abeysekera plays the role of Dirk, the boy who sits on the other end of the bench and looks so eager that it breaks your heart. "Dirk doesn't confront his father because he turns out to be such a disappointment. But by listening to Derrick he learns things about his father and even his mother," says Nanda. In this sense, says Gihan de Chickera, who plays Dirk's mind, the play ends on a note of disappointment for everyone - but not disappointment for the same reasons. Sounds depressing? Not really, it's amazing how two people sitting on a bench can set the stage for one of the funniest of scenes. That's something that Ruwanthie always does though - she makes you laugh even though you want to cry. Two Times Two Is Two will be staged at the Lionel Wendt on November 16, at 7.30 p.m. as a part of the Lionel Wendt Theatre Festival. |
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The
Ritual which, on invitation by the Artistes' Repertory Theatre of
Bangalore opened the StageRite Festival in India last year, is back
at the Lionel Wendt as part of the Lionel Wendt Theatre Festival.
Written and directed by Jehan Aloysius, the play goes on the boards
on November 15 at 7.30 p.m.
