• The challenges of Sinhala drama

The new year has ushered in a brand-new set of expenses, making Sri Lanka a fairly challenging place to live in. The elevated cost of living, exacerbated by the country’s economic conditions, escalating taxes, and surging prices of consumer goods and services, has burdened Lankan citizens greatly. 

Sustaining daily lifestyles has become an incredibly difficult task, which, together with the soaring cost of living, has translated to people having increasingly less disposable income. Consequently, individuals grappling with these financial constraints are naturally compelled to look into cost-cutting and the areas that get cut first tend to be the wants – leisure activities, hobbies, and entertainment become the first casualties in the face of economic strain. 

Given the current state of affairs, the odds are heavily stacked against various art forms, particularly live theatre, with stage drama bearing a significant brunt. 

This week, The Sunday Morning Brunch reached out to a number of theatre practitioners, notably directors and producers specialising in Sinhala language stage drama, who shed light on the formidable challenges they encountered given Sri Lanka’s current context.

These challenges range from the intricacies of production to the underlying financial constraints. A recurring theme in these discussions is the stark reality that audiences, as well as those involved in staging the shows, face financial barriers that hinder their ability to participate in and sustain such cultural endeavours. 

The overarching sentiment is that the economic constraints place a strain on the accessibility and viability of Sinhala language stage drama, creating a complex web of challenges for both the creators and consumers of this artistic expression.

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 outlined some of the primary concerns faced by the Sinhala language theatre industry at present.

He noted that leaving aside the financial constraints which were a glaring issue and an obvious one, a challenge that had plagued dramatists even before the worst of the economic crisis had been the gradual decline in the celebration of the arts and the importance it was given in society. He added that the main issue was that there were limited spaces to showcase one’s work.

The arts no longer celebrated 

Reflecting on the changing landscape of theatre venues, Siriwardana said: “In the past, you had an endless roster of theatres to stage your shows – Lumbini, Saraswathi, Kadireshan, Ramakrishna, YMBA, John de Silva, Tower Hall, Elphinstone, etc. But now stages like Lumbini, once revered as the home of dramatists (‘natya karuwange mahagedara’), have since lost their lustre. Even if you manage to wrangle together a show, you must now consider where you will show this.” 

This observation encapsulates the profound shift in the availability and prominence of theatre venues, adding another layer to the challenges faced by contemporary dramatists in finding suitable spaces to showcase their artistic endeavours.

Siriwardana drew attention to how difficult it was to publicise a play at present and the contemporary challenges that came with play promotion, underscoring the vital role of publicity in audience engagement. Despite existing built-in audiences comprising theatre enthusiasts, the prevailing societal context, marked by a reluctance to engage in leisure activities, requires an intensified effort to spread awareness about theatrical productions. 

Siriwardana remarked: “We used to advertise through the numerous television programmes dedicated to celebrating the arts and discussing current affairs. A stage drama was a newsworthy cultural event. However, such shows are no longer on TV.” 

He also addressed the oft-used alternative method of poster placement on notice boards near bus stands and public spaces. However, the scarcity of such boards has prompted intense competition, with posters swiftly replaced. 

“Such notice boards are scarce. If you paste your poster in the night, it will have been pasted over by the next morning because everyone uses the same method and we are all in competition to get our project seen,” he said, highlighting the contemporary difficulties in effectively communicating the existence of a play to the wider audience.

Rupees and cents 

Addressing the economic implications on theatrical productions, Siriwardana emphasised on the profound impact of escalating costs, making the recovery of production expenses almost impossible. 

Regarding audience participation, he presented a vivid financial breakdown, stating: “Let’s say you are a family of two and you live on the outskirts of Colombo. If you take a taxi or a private vehicle to travel to the show (assuming this costs around Rs. 1,000), purchase tickets for Rs. 1,000 at a minimum, add the cost of dinner (let’s be optimistic and say Rs. 1,000), and head home for another Rs. 1,000, you will have spent about Rs. 4,000 simply to watch a show.” 

Siriwardana further illustrated the economic strain by recounting instances where even with complimentary tickets, people declined to attend, citing the prohibitive cost of travel to the venue as a significant deterrent. This financial calculus underscores the daunting economic challenges faced by both producers and potential audience members in the contemporary theatrical landscape.

In alignment with Siriwardana’s sentiments, dramatist Dinidu Bandara also underscored the difficulty of survival for the arts and artistes in the face of escalating investment costs within the theatre industry. Bandara emphasised on the unprecedented rise in theatre expenses, with specific reference to the Tower Hall. He highlighted the historical exemption of electricity costs, subsidised by the State Treasury, which was abruptly terminated by the new Government. 

Consequently, the operational costs of the Tower Hall, once at Rs. 35,000, have surged to Rs. 75,000, representing more than a twofold increase from its initial expenditure. These theatres, originally conceived as entities for fostering artistic endeavours, have now transformed into profit-oriented establishments, introducing formidable challenges for those navigating the delicate ecosystem of the performing arts.

Bandara expressed profound gratitude to former President Premadasa for a policy that exempted stage dramas from entertainment tax during his tenure. This exemption has served as a substantial relief for those involved in the theatrical domain. However, he candidly voiced a palpable fear shared by the creative community – that such favourable policies may undergo revisions in the near future. 

Bandara articulated concerns that any potential alteration to the tax exemption policy could significantly impede the growth and sustainability of creative initiatives in Sri Lanka. The uncertainties surrounding financial support mechanisms for the arts pose substantial threats to the vibrant tapestry of cultural expression in the country.

Bandara shared that in his case, at present, he had two lengthy productions and two shorts that were set to incur losses. “There are no means for me to even recover costs. We are limited to Colombo because of the fuel costs which make it near impossible for us to take our shows on the road,” he said.

Noting also that people no longer made it a habit to come and watch new theatre productions that came to their city, he said: “People are focused on managing living costs, paying their electricity bill, affording gas, etc. It’s simply not something we can expect from the public at this time,” he said. 

Rebuilding theatre culture

 Sharing insights into the financial strategies employed amidst challenging circumstances, Bandara spoke of how he strived to manage expenses, stating: “It is unfortunate, but I have looked at where I can cut some costs.” Cutting costs often leads to compromising on quality, even through something as simple as opting for a recorded piece of music instead of a live orchestra. Acknowledging this compromise, he said: “Even though it won’t give the same quality that I want, I am forced to do it.”

To cut costs also means rethinking the scale of a production in order to streamline and economise the various facets of the theatrical presentation. Bandara said: “I’ve thinned and trimmed as much as I can to accommodate our budgets.” This trimming of production elements reflects his conscientious approach to balancing artistic integrity with financial realities. 

As creative practitioners like Bandara grapple with economic challenges, their adaptive strategies become crucial in navigating the intricate intersection of art and finance, ensuring the persistence of creative endeavours within budgetary constraints.

Bandara also shared that he was looking at changing the scope of how theatre was consumed. “I want to look at how theatre was consumed in the past. I am currently reading for my PhD in moving theatre and in studying the nature of a show on the road. History proves that it was possible in a stripped down low-cost way. Examples like kolam, sokari, and nadagam did not require theatres and simply called for an audience of nearby locals,” he said, adding that he would be trying this format out: “It will be something like a forum theatre.” 

He will have a three-show run on 8,9, and 10 March with the first being in Rajanganaya in an open field. “We will take public transport. I have some young dramatists on board so we will make an attempt at this,” he said. 

Society and  theatre – one and the same  

Jude Srimal, a seasoned figure in the Sri Lankan theatre scene renowned for his roles as a producer, organiser, and comic artist, astutely observed the parallels between the challenges confronting theatre and the broader societal landscape. 

He said: “If you are talking about the challenges faced by the theatre or actions, then it is similar to what society at large is experiencing.” In drawing this connection, he underscored the undeniable intertwining of the theatrical realm with the prevailing circumstances encountered by the public. 

Srimal emphasised on the symbiotic relationship between the theatre and the public in times of economic crisis and affirmed that the challenges faced by one were reflective of the challenges experienced by the other. This perspective from a veteran in the theatre industry sheds light on the shared vulnerabilities and interconnectedness between the performing arts and the societal fabric at large during periods of economic uncertainty.

Srimal also noted that given the current economic situation, the initial casualty in anyone’s routine was leisure activities. He emphasised: “These elements brought joy, culture, and colour into their lives. They were not merely forms of entertainment, but contributors to the cultivation of ethical values, the nurturing of relationships, and the facilitation of social interactions.”

Srimal also highlighted the changing dynamics of societal engagement, particularly in the context of entertainment preferences. He lamented the shift from a collective experience of looking up and enjoying each other’s company in the theatre to a prevalent habit of looking down, symbolising a society increasingly characterised by individualism. “We all look down as we cultivate a society of individuals who embody individualism, unable to find enjoyment in the community because all they’ve ever known is enjoyment on their own.”

In extrapolating the impact of cutting infrastructure and funding for the arts, Srimal warned against the inherent danger of societal degradation, emphasising on the role of the arts not merely as a source of entertainment but as a cornerstone in shaping the ethical fabric and fostering community bonds. 

Srimal’s reflections prompt a broader consideration of the interconnectedness between the arts, societal well-being, and the enduring value of communal experiences, advocating for the preservation of cultural investments as integral components of a thriving society.

Brunch’s deep dive into the world of Sinhala theatre saw us uncover fascinating insights from other figures from the Sinhala stage. Join us next week as we continue this journey with Part 2 of ‘Celebrating the arts in 2024: The challenges of Sinhala drama’