- Exploring experimental theatre in Sri Lanka
Experimental theatre is a broad term encompassing various theatrical styles and movements that challenge conventional norms.
In Sri Lanka, this genre has seen growing interest, with local theatre practitioners exploring unconventional staging, interactive experiences, and non-traditional venues. The upcoming production ‘The Amazing Lemonade Girl’ by Clutch Plays Theatre exemplifies this experimental spirit, pushing the boundaries of how stories can be told on stage.
Clutch Plays Theatre Artistic Director Mayaan Haputantri shared his insights on what it meant to be experimental in theatre. He explained: “A loose definition of being experimental in theatre involves presenting innovative works and developing new concepts and techniques in stage production. However, the term ‘experimental’ is relative to the audience and culture of a particular theatre industry. What is new and innovative in one region could be commonplace in another.”
Haputantri emphasised that the foundation of experimental theatre lay in the story itself. “In my opinion, it always starts with the story. What is the best way to tell this story? Where can it be staged, what could it be design-wise, and what artistic decisions can we take to tell this story in the way we want to?
“If you dare to dream a little outside the box, you’ll be surprised at how experimental and innovative you can be as a theatre-maker,” he explained.
New ways of storytelling
For the current show, ‘The Amazing Lemonade Girl,’ Haputantri and his team sought a venue that would complement the play’s intimate nature.
“Once I read the play, I instantly felt what type of venue it should be. It had to be intimate in its staging; it wouldn’t work in a proscenium stage or an end-on arrangement. So we were looking at black box, halls, or studio-type venues where the audience could sit around the performance,” he noted.
The team ultimately chose Kolamba Kamatha at the BMICH, which allowed them to use a thrust stage.
“A thrust stage sticks out into the audience, who sit on three sides. This setup lets the audience experience the story up close,” Haputantri explained. This choice of staging is a prime example of how a production can be experimental through its approach to venue and audience interaction.
‘The Amazing Lemonade Girl’ not only showcases the creative potential of Sri Lankan theatre but also highlights the importance of pushing the boundaries of traditional theatre practices. Haputantri’s work serves as an inspiration for other theatre-makers to explore new ways of storytelling, making experimental theatre a vibrant and evolving aspect of the local arts scene.
Brunch also spoke to several other local theatre practitioners to gather their perspectives on experimental theatre, particularly from a Sri Lankan viewpoint.
Reihan Stephen, a seasoned theatre practitioner, shared his insights on the nature of experimental theatre.
“Experimental theatre is a type of performance art that breaks away from conventional theatre norms by provoking audiences with something they most probably did not expect. It is a place where actors and audience, script and improvisation, and reality and illusion blur. It is not only a question of telling a story; it is about creating an experience that provokes new thoughts and feelings.”
Explaining the unique nature of experimental theatre, where the process is as important as the outcome, Stephen said: “Actors might create the narrative in real time through movement, sound, and non-linear dialogue that raises abstract themes. The location of the stage can be anywhere – a traditional theatre, a public space, or even a digital platform.”
The goal, as Stephen described it, was to “disrupt the known and to ask performers and spectators alike for a reconsideration of what theatre can and should be, and what it can mean”.
Stephen sees experimental theatre as a “laboratory of ideas,” emphasising that there are no set rules. “The door is wide open to a new, raw, and pure exploration of the human experience,” he added.
This perspective highlights the essence of experimental theatre – an art form that continuously challenges the boundaries of traditional storytelling and invites both creators and audiences to engage in a transformative experience.
Kehelmala Productions Ltd. Story Master Rajitha Hettiarachchi, another prominent theatre practitioner, shared his views on the significance of experimenting with theatre and storytelling, especially in a context like Sri Lanka where resources for these arts were limited.
He expressed his belief that the strength of a story should transcend the constraints of venue, set, or costumes. “I’ve always believed that if the story is strong enough, you should be able to take it to the audience regardless of the venue, set, costumes, etc.,” he stated.
Hettiarachchi emphasised the importance of creating original stories that resonated with and responded to the society they emerged from. “Creating original stories, which are inspired and are a response to our own society, is extremely important as a creator and storyteller,” he said. He sees storytelling as a powerful tool to influence society and initiate meaningful dialogue, adding: “Stories shape our society and they’re a powerful tool to influence and create dialogue.”
His commitment to originality and experimentation in theatre is driven by his desire to address societal issues and spark conversations, all while providing entertainment. “I like to create original work that creates visibility for issues and sparks conversations, while also being entertaining,” he explained.
For Hettiarachchi, stepping outside traditional theatre and filmmaking techniques is not just about innovation but also about challenging oneself as an artist. “Experimenting and going outside of the traditional theatre and filmmaking techniques allow us as artists to challenge ourselves. It also leaves room for our work to be influenced and informed by our own experiences.”
Stepping beyond boundaries
Haputantri further discussed the excitement and challenges of incorporating unfamiliar elements into productions, particularly with Sri Lankan audiences in mind.
“It’s pretty exciting. It’s always fun to do things in a way that’s newer to you as an artist and that you feel may be a thrilling experience for the audience,” he shared, emphasising the thrill of exploring new artistic avenues.
When making stylistic choices for storytelling, Haputantri considers the balance between innovation and audience comprehension, questioning: “Do we want to frame things as metaphors rather than keep them literal or stage them in a more liminal space?”
He believes that the ultimate measure of success is whether the target audience can derive meaning from the performance. “As innovative and experimental as you may want your work to be, and as genius as it may be, is it truly genius if your audience cannot comprehend and benefit from it?” he questioned.
Reflecting on his own experiences, Haputantri admitted that, as a younger director, he sometimes let his ideas “run too wild,” leading to productions that may have been too abstract for their intended audiences. Despite this, he continues to embrace the challenge of experimenting with storytelling techniques.
“It’s still an exhilarating challenge with every show that enters this experimental world, which is why I keep coming back to trying different things with how we tell our stories,” he added.
Similarly, Stephen emphasised the importance of pushing boundaries and making the unfamiliar more accessible to audiences. “Extending boundaries and introducing the unfamiliar radically, pushes you beyond conventional norms that audiences are used to. This can involve non-traditional narratives, unique stage designs, or performance styles.”
Stephen noted that Sri Lankan audiences, with their deeply rooted cultural expectations, were often invited into new experiences through experimental theatre. “It means the guts to bring forth ideas, stories, and aesthetics that might not have been witnessed earlier in local theatre, and most importantly, the nudging of an audience to stretch their notion of what theatre can be,” he explained.
He also discussed the concept of making the uncomfortable comfortable, highlighting that the goal was not merely to surprise the audience but to guide them toward a deeper appreciation of what might initially seem strange or unsettling.
“It’s simply the art of making the unfamiliar interesting, not uncomfortable,” he said. For Sri Lankan audiences, this might involve themes, formats, or technologies that fall outside their usual frames of reference. “Essentially, this involves presenting these in a manner that will enable audiences, over time, to accept and even embrace newness,” he added.
Stephen believes that the key is to create a space of curiosity and openness, where audiences gradually become more at ease with ideas that initially felt foreign, ultimately broadening their cultural and artistic horizons.
“It’s a matter of putting the public into a situation of curiosity and openness, so that they will gradually feel more at ease with ideas that perhaps sounded very foreign to them initially,” he concluded.
Skill development and the future
Cold Theatre 7 Founder Kevin Cruze shared his perspective on experimental theatre, noting that while he typically adhered to his genre, he recognised the value of diversity within the theatre community.
“Experimental theatre is one of many genres. There are original plays, forum theatre, and other types of experimental work happening in Sri Lanka. From a practitioner’s point of view, it’s great to have variety. For the audience, it’s beneficial because they have a wide range of choices,” he said, emphasising that the presence of different companies working on various styles of theatre brought a refreshing change of pace to the local scene.
Cruze also discussed how his own work, particularly with young performers, aligned with the spirit of experimentation. “I focus on providing opportunities for kids to perform, especially through my new ‘House Cup’ format,” he explained. This format, which began in 2017 and continued in 2018, 2023, and now 2024, allows students to explore different aspects of theatre beyond just acting.
“These kids can pursue areas like music composition, costumes, makeup, lighting design, and more. Even if their house doesn’t win the competition, they can still stay involved in theatre by participating in these other areas.”
Cruze highlighted the educational aspect of his work, pointing to a performance yesterday (17) which was the culmination of an ongoing workshop for children interested in developing their theatre skills. “The workshop wasn’t focused on producing a show; it was about building confidence, teamwork, and other skills essential for theatre,” he said.
Looking ahead, Cruze announced that the next intake for the workshop would begin in February 2025, inviting interested participants to register at coldtheatre7.com.