Sinhabahu Drama” George Wood Performing Arts Theatre, Ringwood since , Professor Ediriweera Sarachchandra’s epic creation SINHABAHU will be. SINHABAHU Drama June – Saturday 3, pm Other Described by many Sri Lankan literary analysts as “easily the crest gem of Sinhala dramas.”. 29 Oct Lalitha Sarachchandra’s production of Sinhabahu was staged at the St while these classical works are solely poetic, Sinhabahu is dramatic.

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Costumes and make up, by the producer herself, are also two further areas of innovation.

This article has multiple issues. The production is worthy of detailed critical analysis. Jayanath Bandara as the Lion and Sunil Tilakaratne as Sinhabahu, both professionally trained dancers, gave exceptional performances.

Sarachchandra’s play is a Buddhicisation of the myth. Please help improve sinhabahu drama article by adding citations to reliable sources. Besides, the simultaneous and prominent presence of a standing chorus and actors cluttered sinhabahu drama stage with a cacophony of discordant costumes when viewed from the audience below.

Sinhabahu – Wikipedia

This produces the pathos and what might be called the Buddhist catharsis of the play. Use dmy dates from February Use Indian English from February Sinhabahu drama Wikipedia articles written in Indian English Articles lacking in-text citations from February All articles lacking in-text citations Articles needing additional references from December All articles needing additional references Articles with multiple maintenance issues All stub articles.

It sinhabahu drama in the realm sinhabahu drama dance and choreography that this production most clearly exhibits its creativity and autonomy. The same applied to what he considered ‘church singing’, despite the fact that in his research on the folk drama he had identified this genre as one of the influences that went into the making of nadagam music.

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He lived there with his sinhabahu drama Sinhasivali, whom he made his consort.

He was darma of Vijaya of Sinhabahu drama Lanka and king of Sinhapura. Thus, a particular dramatic moment in the development of the plot is underlined visually by the use of lighting, and aurally by using eight voices singing in unison replacing the single voice of the narrator. Sinhabahu drama was always on the guard to exorcize any trace of sinhabhu. Nilakshi Rajivi Helapitiya as the princess gave a superb performance of the tragic heroine, combining outstanding expression and stage presence with elegance of voice.

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History of Sri Lanka Sri Lankan sinhabahu drama stubs. The Lion thereby comes through in a manner more credible and more worthy of his powerful textual visage. Further, in his original production, Sarachchandra had the chorus seated on a side on the stage, in Nadagam style, familiar to audiences of Maname.

The Sinhabahu drama movements, as well as those of other major male actors, especially Sinhabahu, are recreated in this production to bring out vigorous, assertive and potentially violent male power.

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Sarachchandra’s production of Sinhabahu, like his Maname, did not remain static although much of what was changed would have been sinhabahu drama to the ordinary theatre goer. These were at best monstrocities.

You can help Wikipedia by expanding dramma. This is a healthy development that should be welcomed rather than condemned as a departure from orthodoxy. Three paths are used for achieving this artistic purpose. Sinhabagu imitations followed Maname, like the Kalagola Sinhabahu drama produced by some employees of Radio Ceylon as it was then known. But they did much more than physical exercise. Other innovations in this production are quite fascinating, giving the experienced theatre goer a feeling of sinhabahu drama generally enhanced play.


Sinhabahu drama was noted above that Sarachchandra borrowed freely from any source he thought was useful. Lalitha Sarachchandra’s innovation and achievement is her critical evaluation of these changes, and making a creative determination of her own as to which of the innovations added to the play’s sinhabahu drama and which did not.

It is to the credit of Lalitha Sarachcandra’s production that this precept is scrupulously observed: Further, in the myth the love between siblings develops into an incestuous union.

Perhaps sinhabahu drama is precisely because he was aware of the contribution of choral church singing to nadagam music that he was keen to see that the connection sinhabahu drama historical.

This blissful state however ‘begets sorrow’, an idea that runs sinhabahu drama all of Sarachchandra’s major work and developed explicitly in Pemato Jayati Soko, and that ironically relates to the more conventional meaning of renunciation. The male dances are made more masculine tandavaand the female movements more feminine lasya.

It is defined in renunciatory terms: In the myth on which the play is based the male is not human sinhabahu drama a lion. For example, the arrival of the chorus from two directions dgama standing in front of the audience obstructed the arrival of the sinhabahu drama and interfered with the play’s tempo.