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Indigenous Folk Styles and the Creat...

Bulathsinghala, Lakshmi Damayanthi.

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Indigenous Folk Styles and the Creation of a "Modern Sinhala Theatre" in Post-Independence Sri Lanka.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Indigenous Folk Styles and the Creation of a "Modern Sinhala Theatre" in Post-Independence Sri Lanka./
Author:	Bulathsinghala, Lakshmi Damayanthi.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	306 p.
Notes:	Source: Dissertations Abstracts International, Volume: 79-12, Section: A.
Contained By:	Dissertations Abstracts International79-12A.
Subject:	Theater. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10821746
ISBN:	9780438056268

Indigenous Folk Styles and the Creation of a "Modern Sinhala Theatre" in Post-Independence Sri Lanka.
Bulathsinghala, Lakshmi Damayanthi.

Indigenous Folk Styles and the Creation of a "Modern Sinhala Theatre" in Post-Independence Sri Lanka. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 306 p.

Source: Dissertations Abstracts International, Volume: 79-12, Section: A.

Thesis (Ph.D.)--State University of New York at Binghamton, 2018.

This item must not be added to any third party search indexes.

While indigenous Sri Lankan drama has not yet achieved significant international recognition, it inherits an abundant ritualistic tradition and a range of philosophies and techniques that have both similarities and differences to those in other countries of the region. Among most of the South Asian nations, the traditional theatre based on rituals is considered a theatre of both the outer and the inner eye. This is because such traditional theatre is related to a spiritual journey that is connected with rituals and religious beliefs. However, when a nation experiences intercultural contacts as a result of colonial domination, the question of cultural identity becomes more complicated. "Indigenous Folk Styles and the Creation of a 'Modern Sinhala Theatre' in Post-Independence Sri Lanka" explores the development of Sinhala drama from its earliest manifestations to the post-independence period, examining the impact of indigenous folk theatrical forms on the work of the most significant postcolonial dramatists, and on the plays that they produced. Beginning with the early folk styles of Sokari, Kavi Nalu, and Kolam, and progressing to later imported forms such as Sinhala Nadagam, Nurthi, and Kavi Nadagam, the dissertation proceeds to examine the work, starting in the 1950s, of Ediriweera Sarachchandra, Dayananda Gunawardena, and Gunasena Galappaththi, focusing on a single pivotal piece by each playwright to illuminate the influence of folk styles on their distinctive visions of what a new Sinhala drama might look like. In the process, this study explodes a number of myths and misunderstandings regarding Sri Lanka's folk heritage that grew out of Sarachchandra's seminal study The Folk Drama of Ceylon (1952) and have continued to appear in subesquent scholarship down to the present day. My work aims to disentangle interpretive complications surrounding the principal indigenous Sri Lankan folk styles, in the process seeking to secure more reliable information on these forms and their characteristics. At the same time, by drawing connections between indigenous styles and post-independence theatrical movements, I demonstrate the essential role of the former in Sinhala culture prior to the advent of Western and other influences, and show how they continue to inflect Sri Lankan drama today.

ISBN: 9780438056268Subjects--Topical Terms:

522973
Theater.
Subjects--Index Terms:

Gunawardena, Dayananda

Indigenous Folk Styles and the Creation of a "Modern Sinhala Theatre" in Post-Independence Sri Lanka.
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520 $a While indigenous Sri Lankan drama has not yet achieved significant international recognition, it inherits an abundant ritualistic tradition and a range of philosophies and techniques that have both similarities and differences to those in other countries of the region. Among most of the South Asian nations, the traditional theatre based on rituals is considered a theatre of both the outer and the inner eye. This is because such traditional theatre is related to a spiritual journey that is connected with rituals and religious beliefs. However, when a nation experiences intercultural contacts as a result of colonial domination, the question of cultural identity becomes more complicated. "Indigenous Folk Styles and the Creation of a 'Modern Sinhala Theatre' in Post-Independence Sri Lanka" explores the development of Sinhala drama from its earliest manifestations to the post-independence period, examining the impact of indigenous folk theatrical forms on the work of the most significant postcolonial dramatists, and on the plays that they produced. Beginning with the early folk styles of Sokari, Kavi Nalu, and Kolam, and progressing to later imported forms such as Sinhala Nadagam, Nurthi, and Kavi Nadagam, the dissertation proceeds to examine the work, starting in the 1950s, of Ediriweera Sarachchandra, Dayananda Gunawardena, and Gunasena Galappaththi, focusing on a single pivotal piece by each playwright to illuminate the influence of folk styles on their distinctive visions of what a new Sinhala drama might look like. In the process, this study explodes a number of myths and misunderstandings regarding Sri Lanka's folk heritage that grew out of Sarachchandra's seminal study The Folk Drama of Ceylon (1952) and have continued to appear in subesquent scholarship down to the present day. My work aims to disentangle interpretive complications surrounding the principal indigenous Sri Lankan folk styles, in the process seeking to secure more reliable information on these forms and their characteristics. At the same time, by drawing connections between indigenous styles and post-independence theatrical movements, I demonstrate the essential role of the former in Sinhala culture prior to the advent of Western and other influences, and show how they continue to inflect Sri Lankan drama today.
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