He had a way of selecting words
"Stop using 'kunuharupa' in the name of language," thundered Deputy
Minister of Cultural Affairs, Professor Suraweera recently at the John
de Silva Theatre. The occasion was the felicitation of that great dramatist
Sugathapala de Silva.
"To say this type of language is used in English today is no excuse.
There is no need for dramatists and writers to go down to the level of
using filth," he warned. He even named some newspapers (not national) which
use foul language.
Calling Sugath "a revolutionist", he complimented him on his use of
language and his selection of themes for his dramas. "He had a fine strength
in selecting the right words. He had a scent for the correct words."
Tissa Abeysekera gave examples of Sugath's knack for words which created
a sensation at the time. Sugath's titles were simple. Starting with 'Eka
Walle Pol' (1958), he produced 'Bordingkarayo' (1962) followed
by 'Tattu Geval' (1964). The titles he coined for foreign ones were
even more interesting. Pirandello's 'Six Characters in Search of an
Author' became 'Harima Badu Hayak'. Tennessee Williams ' Cat
on a Hot Tin Roof' was 'Hele Negga Dong Putha'. Brecht's ' Good
Woman of Setzuan' was 'Hitha Honda Ammandi'. and 'The Tea
House of the August Moon' was 'Esala Sanda Avan Hala'.
Tissa related how a few of them met at Victoria Park (now Vihara Maha
Devi ) and formed a theatre group. It was obvious the name 'Ape Kattiya'
came from Sugath. Others in the group included G. W. Surendra, Cyril B
Perera, Augustus Vinayagaratnam (who did not know a word of Tamil even
though his father was a Tamil) and Neil I. Perera - all of them are no
more.
Tissa called Sugath "a bilingual product" - well versed in English and
having a fine command of Sinhala. He did a lot of reading and absorbed
the best in English literature while working as an accounts clerk at K.
V. G. de Silva bookshop.
The other speakers too spoke of Sugath's contribution to Sinhala theatre-
how he took up the challenge of moving over to dialogue dramas at a time
when the trend was towards stylised and semi-stylised drama.
Yet alert and happy
Meeting Sugathapala de Silva has always been a rich experience. And to
see him smiling, alert and happy, though in a wheel chair following his
recent illness, was refreshing. "I appreciate what they are doing for me.
But I try not to be overjoyed by it. That is what the doctor has advised
me. To avoid intense joy or deep sorrow," he told me holding my hand. He
is obviously a good patient.
He met those who came to the Art Gallery where a fine selection of colour
photographs of his dramas, posters (those classic IPB creations) and books
were being exhibited. The trophies and certificates on display were ample
evidence of his deeds.
When Prof. Sucharita Gamlath walked in, Sugath was quick to ask him
about a word of which he wanted the exact meaning.
Sugath has been a fighter - always for a cause, a 'dramatic' cause.
The way he has fought his illness at 70, shows his determination. His wife
Sheila standing beside him all smiles has done a tremendous job in seeing
him through.
A big 'thank you' to the Sinhala Drama Panel of the Arts Council, the
Cultural Affairs Department and the Tower Hall Foundation for recognising
and felicitating a 'Yuga Purushaya'. |
