- The challenges of Sinhala drama
Last week, Brunch delved into the challenges faced by theatre practitioners in Sri Lanka, shedding light on the obstacles encountered in staging shows amidst the country’s post-crisis environment. Many dramatists expressed the sentiment that Sri Lanka may not truly be in a ‘post’-crisis state, especially considering the ongoing economic struggles.
The dramatists unanimously highlighted the profound impact of the country’s economic downturn on the arts, noting that when the economy suffered, the arts were often the first casualty. In times of financial hardship, basic needs take precedence over cultural pursuits, relegating the arts to a lower priority.
Furthermore, the artistes emphasised on the critical role of art in society, cautioning against neglecting its significance. They underscored the intrinsic connection between art and societal well-being, arguing that without the freedom to engage with the arts, a nation risked fostering a populace devoid of empathy and cultural appreciation.
They articulated the belief that art served as a vehicle for expression and connection, fostering understanding and empathy among individuals. In essence, they posited that a society deprived of art would become insular and self-centred, lacking the capacity to engage meaningfully with others and appreciate the richness of human experience.
This week, Brunch continues the conversation with dramatist Jinidu Bandara, who shared his personal journey as a professional theatre practitioner. Bandara revealed that despite enduring numerous challenges, he remained steadfast in his passion for theatre and actively sought ways to persevere. He observed the harsh reality of the industry, stating: “I have invested Rs. 1.8 million and there is no way to make it back. The game we are playing is for survival.”
Expanding on the limitations faced by theatre practitioners, Bandara highlighted the geographical constraints imposed by financial burdens, particularly the prohibitive costs associated with taking shows on tour. He lamented the confined audience base, noting that the scope was largely restricted to Colombo due to escalating fuel costs. Bandara noted the broader societal dynamics at play, explaining that while there was occasional interest in theatre, it often lacked the consistency necessary for sustained engagement.
He said: “The audience that watches Sinhala dramas are based in towns and they do not have a habit of watching dramas. Perhaps if there is a cause attached to it, if there is an event and some fanfare, then yes, but there are simply no people who make it a practice to go to the theatre as their weekend bout of entertainment. In a country like ours, it is simply not possible.”
Through Bandara’s reflections, the intricate challenges faced by theatre practitioners in Sri Lanka come into sharp focus, highlighting the resilience required to navigate the industry’s complexities amidst economic and societal constraints.
Theatre education must change
Former President of the State Drama Advisory Council and Former Director General of the Tower Hall Theatre Foundation, veteran dramatist, and Attorney-at-Law Douglas Siriwardana highlighted that youth engagement in theatre was fast declining.
Siriwardana articulated concerns regarding the dwindling engagement of youth in stage drama, attributing it to the lack of opportunities and support within the educational system. He lamented the absence of State-sponsored student awards for theatre over the past five years, noting the consequent scarcity of platforms for students to showcase their talents.
Reflecting on the past, he observed: “Even if students were unable to watch the commercially-available stage dramas, they were able to do their own productions and engage with each other’s productions from each other’s schools, etc. However, they have increasingly fewer opportunities of this kind at present.”
Furthermore, Siriwardana pointed at the reluctance of Government bodies, particularly the Ministry of Education and those responsible for arts education, to update the curriculum as a significant contributing factor to the decline of stage drama. He said: “I vehemently believe that the greatest contributor to the decline of the arts is the lack of an update in the arts syllabus in schools and universities.” He underscored the stagnation in educational materials, noting that students today were studying the same content that he had encountered during his university years.
Siriwardana highlighted the need for contemporary works to be integrated into educational curricula, emphasising that textbooks predominantly focused on classic pieces such as ‘Maname,’ ‘Sinhabahu,’ and ‘Hunuwataye Kathawa’. While acknowledging the significance of these classics, he stressed on the importance of including sections dedicated to contemporary art.
“When will the works of Sri Lankan dramatists from the recent decades make it to these textbooks? At this rate, these books on theatre are more history books than texts,” he charged.
Through Siriwardana’s insights, the pressing need for educational reform to revitalise and sustain the arts becomes evident, underscoring the imperative of embracing contemporary cultural expressions within academic frameworks.
A society under pressure cannot support the arts
Siriwardana also reminisced about the vibrant cultural events that had once accompanied theatre productions when touring new towns. He lamented the decline of this tradition, stating: “In the past when we travelled to a new town with a production, it was a cultural event, but now that welcome is no more.”
Reflecting on past experiences, he recalled the warmth and hospitality extended to theatre practitioners, where after the show, they would be invited to gatherings or someone’s home for a celebration. Siriwardana vividly described the camaraderie shared among actors and the audience, where they would sing, enjoy each other’s company, and engage in discussions.
He contrasted this with the present, noting a stark shift in post-show interactions, where the connection and sense of community are notably absent. “Nowadays, you simply watch the show, pack up, and leave in a great hurry,” he said.
Through Siriwardana’s reflections, the loss of communal engagement and cultural exchange in contemporary theatre touring practices becomes evident, underscoring the importance of fostering connections and preserving traditions within the arts community.
The interplay between personal struggles and the enjoyment of art is a complex dynamic, as Siriwardana articulated: “You cannot truly enjoy a piece of art if you live in a sea of troubles.” This sentiment sheds light on the profound influence of one’s socioeconomic circumstances on their ability to engage with and derive pleasure from artistic endeavours.
Siriwardana astutely noted that while art often served as a reflection of society’s truths, offering viewers an opportunity for enjoyment and intellectual stimulation, this experience was inherently compromised by the weight of personal hardships. He explained: “Often what we see reflected in art is the truth of society and usually it is quite fun and enjoyable to see life’s realities reflected back to you in the form of a piece of art.” However, the enjoyment derived from this reflective process is contingent upon one’s mental and emotional state, which can be overshadowed by financial burdens and existential anxieties.
Siriwardana poignantly highlighted the contrast between a preoccupied mind consumed by worries about financial stability and the immersive enjoyment of artistic expression: “If you remember the times before our issues, it was in fact an enjoyable experience. However, now when you are worried about what you will be able to afford and if you are concerned about paying for your children’s schooling, etc., then it doesn’t become so enjoyable, does it?”
This shift in perspective transforms the act of engaging with art from a source of pleasure to a sombre reflection of life’s harsh realities. Ultimately, Siriwardana compared this experience to “a mirror being held to the stark reality of your life, which looks more and more like a car crash,” illustrating the profound impact of personal struggles on the interpretation and enjoyment of artistic expression.