DRAMA 🎭

 What is drama?

Nrittha, Nritya, Nathya

All these three words have been derived from the roots 'nrit' and 'nat'.

• Nrittha - Pure Dance. (Pure Dance) or rhythmic movement. Here, no meaning is expressed through gestures.

'Gātra vikshepamatrang tu sarvabhinaya varjitam aadagikoktaprakārena nritthaṃ nrittha vido viduṅ'

Example: Li Keli, Pantheru dance.

• Nrittha - A dance in which a certain meaning is expressed through physical and spiritual gestures. 'Nrithakiya sings with her mouth. She expresses meaning with her hands. She shows meaning with her eyes.  'The feet set the rhythm' (Abhinaya Darpana) Accordingly, dance that has rhythm, meaning, and mood is called dance.

For example: Bharata Natyam, Manipuri, Kathak Kathakali

• Drama - 'Drama is the unique representation of a situation or event in front of the audience through actors and actresses, using the four gestures'

Definitions of Drama

The definitions of 'Drama' given by various scholars of the world are given below.

• Drama is the imitation of the existence of the world - Bharatamuni

•  Drama is the imitation of situations. (Avasthanu krithira natyam) - Dhananjaya

• Drama is the imitation of an action.  - Aristotle / Bharatamuni

• Drama is the expression of the world's joys and sorrows through gestures - Bharatamuni

• Drama is a copy of life. A mirror of customs. - Aldis Nicol

Drama is not only about providing entertainment to the audience but also about making the audience fall prey to their intellect. - Bertolt Brecht

Four Gestures

This concept has been presented in Bharatamuni's book 'Natya Shastra'.

Gestures

Accordingly, the techniques used by actors and actresses to move the audience forward as a play can be introduced as gestures. Gestures are of four parts.

1.  Verbal gesture
2.  Physical gesture 
3. Sattvik gesture
4. Food gesture

Verbal gesture

The purpose of conveying the content of the play to the audience through dialogues, dialogues, self-talk, songs, etc. is called verbal gesture. Since the stage scenery is often absent in dramas of the Natya Dharma style, the background and environment are also described through verbal gesture.

To project verbal gesture more powerfully, voice practice and breathing exercises should be done.

Physical gesture

Expressing meanings and feelings using limbs, elements, and accessories is called physical gesture. According to the drama theory of Bharata Muni, there are several varieties of physical gesture in Sanskrit drama, such as vari, sthanaka, hasta and karana.  To present the physical gesture more powerfully, physical exercises should be done in connection with it. In physical gesture, the following aspects of the body should be considered.

•  Relaxation (relaxation)

•  Rhythm

•  Flexibility

•  Strength

Sattiva Gesture

The representation of subtle emotions with concentration of mind is called Sattva Gesture. 'Sattiva' is the expression of human emotions. 8 Sattva Gestures have been mentioned in the critical texts such as Natya Shastra.

 1. Stambha - Body stiffness

2. Romagma - Movement of the body

3. Vepatu - Trembling of the whole body

4. Swarabhanga - Voice breaking

5. Asru - Tears

6. Sweda - Sweating

7. Vaivarnya - Change in body colour

8. Pralaya - Fainting

Aharya Abhinaya

The word 'Aharya' means that which is brought out. Verbal, physical and sattvic gestures are present in the body of actors and actresses. Accordingly, external factors that help to confirm and highlight the performance of actors and actresses can be introduced as Aharya Abhinaya.

 1. Stage decoration

2. Costumes

3. Stage equipment

4. Composition

5. Stage lighting

6. Dramatic music

Aharya is part of the gesture.

Dramatic style

The expressive style of a drama can be described as the dramatic style. According to the dramatist Bharata, there are two main dramatist styles.

(1) Loka Dharma

(2) Dramatic Dharma

Loka Dharma style

In his dramatist Bharata, he introduced the Loka Dharma style as follows: 'If it is based on the natural characteristics of the characters, if it includes worldly actions, if it has a natural gesture system without any physical or emotional activities, it is Loka Dharma.'

 Accordingly, the presentation of the actions and dialogues of a play in a realistic manner, as they occur in the real world, is called Loka Dharma

Local examples

 (1) Sugathapala de Silva - Boarding houses, Houses of different floors

(2) R. R. Samarakoon - Kelani Bridge, People who fell from the sky

(3) Ranjith Dharmakirthi - Modara Mill

(4) Premaranjith Thilakaratne - A house without a roof

Foreign examples

 (1) Henrik Ibsen's Doll's House, An Enemy of the People, Pillars of Society

(2) Anton Chekhov - The Cherry Orchard, The Seagull

https://youtu.be/E6GNwKQkaoI?si=wGaauFfaXGLABBlh

Natya Dharma Style

Bharatamuni has introduced the Natya Dharma style in the Natya Shastra as follows.

'If the action, mood and dialogue of a drama exceed the realistic quality, if it has gestures with an element of playfulness and dramatic characteristics, it is called Natya Dharma. Here, the four gestures are handled in a way that is not close to ordinary life.'

Accordingly, a style that is far from realistic, makes extensive use of dance, singing, and playing, and uses specific symbols and theatrical conventions can be introduced as Natya Dharma style.

 Local examples - 

1. Professor Ediriweera Sarachchandra - Maname, Sinhabahu, Lomahansa

2. Drama traditions like Sokari, Kolam, Nadagam

Foreign examples - 

Greek drama, Sanskrit drama, Chinese Peking Opera, Japanese Noh, Kabuki

https://youtube.com/playlist?list=PLRQvHHVT0sM7_Cftt7rhRwnRds3aGyBB8&si=IQRPUVRid1S6_ES_

 Any drama is a combination of worldly and dramatic traditions.

E.g. = R. R. Samarakoon's Kelani Palam is a drama in the worldly style. It uses prose dialogues, and uses sattvic and angika gestures in a natural way, close to normal life. The costumes and composition are designed in a way close to normal life.

But dramatic features are seen here.

E.g. Bridge, lamppost, water pipe, etc. are not natural things. Only symbols.  Some actions are performed in imitation. (Drinking water from a jug, eating food, washing dishes)

For example: The play 'Hunuwataye Katha', translated into Sinhala by Henry Jayasena based on Bertolt Brecht's play Khdhajachaphachada Khdachathadha Khdhapajatagna, is a drama in the Dharma style. In its book, a teacher and a group of singers are seen. Half masks are used for some characters. (Natalia, George Abashvili) Songs are sung to describe situations, feelings, and the environment.

But there are also world Dharma features here.

For example -

 (1) Prose dialogues are seen

(2) Performing physical and spiritual gestures naturally, in a way that is close to ordinary life.

(3) Using simple theatrical scenery and theatrical props.

 Thus, we can understand that in any drama, there are more or less universal and dramatic characteristics.

In the worldly drama style,

 the plot, rhythm, dialogue, costumes, props, and imagery of the drama are all close to ordinary situations. Behaving in a way that is close to everyday life, using dialogue and dialogue, and using costumes are all worldly characteristics.

Not only the writing of the drama, but also the theater, the audience, etc., are arranged in such a way that a real event is revealed before the audience. Worldly drama is also called dialogue drama.

The reason for this is that real people we meet in real life are brought to life on the stage and an attempt is made to build dramatic experiences through dialogue. The audience also watches worldly dramas with the idea that they are watching a real event.

 Dramatic drama is a style of drama that differs from the general style of the world. Here, the movement, the story, the costumes, etc. are all shaped according to a traditional style. Events, gestures, etc. are expressed through dance, singing, gestures and symbols. Rhythmic movements, lyricism of dialogues, expressive speech, more colorful composition, and the use of theatrical costumes are the characteristics of dramatic drama. What the audience expects to see on the stage is not natural but imaginary.

What happens on the stage may be unnatural. It will not happen that way in the real world. But in the stylized tradition, it is believable.

Drama is an art that has existed since ancient times.  Although it has taken different forms due to various reasons, it is not an exaggeration to say that the history of drama is as old as the history of mankind. There is enough evidence to conclude that drama existed at a very developed stage even in ancient times in many countries of the world. Greece and ancient India in particular can be described as countries where there was an advanced drama.

The birth of Sinhala drama in Sri Lanka seems to have been related to the rituals, beliefs and various festivals associated with it that were held by ancient man. There is not a single drama book among the ancient Sinhala literary texts. However, S.K. Jayawardena, who cites chronicles, travel reports and dramas that show that there were dances, songs and drama elements associated with various festivals, has listed 04 types of dances that can be considered visual poetry and drama in ancient Sri Lanka.

1. Dances related to rituals held for Yakshas.

 2. Dances related to divine worship

3. Dances related to Buddhism

4. Dances related to royal life

The "Yak Magule Dance", which is said to have been performed on the day of Prince Vijaya's landing in Sri Lanka, is the first dance mentioned in our chronicles. History books also mention a Bali Dance performed to pray for peace to avert the dangers that came to King Panduwasdeva. Therefore, it seems that certain theatrical forms that were popular in Sri Lanka before the arrival of Mahinda had influenced the Buddhist rituals.

It is mentioned in the Mahavamsa that King Dutugemunu attended the ceremony of tying the Ruwanweli Seya accompanied by the Nalaganas, and the Dutugemunu story in the Thupavamsa describes how the Nalaganas were dressed in a thousand dasas.  King Bhatiya brought actors and actresses to the Maha Seya to perform dances and songs, as mentioned in the Deepavamsa, and in the Mahavamsa, in verses 66, 78, 82, 86, 87, 132, about traveling drama groups. A festival called "Giribandha Pooja" held with dances and songs is mentioned in the Mahavamsa, the Vishuddhi Magga and the Rasavahini, and it is also mentioned in the chronicles that King Kashyapa, who lived in Sigiriya, built drama pavilions, and that King Parakramabahu I studied poetry, songs and dances.

Professor Paranavithana has stated that many people came to Sigiriya not only to see the Sigiriya paintings but also to participate in festivals such as "Giragga Samapja" held in Sigiriya.  The "Giragga Samapja" festival is described in the "Agasav Vatha" description of the Saddharma Ratnavaliya as a festival with dance, singing and comedy.

It is mentioned in the Chulavamsa that King Parakramabahu I built five theaters, sent people who knew dance songs to the villages to learn secret information, and built the Saraswati Mandapa with beautiful paintings carved on pillars made of gold for the king to listen to songs and watch the dance.

Other important sources available to us about dance and drama in ancient Sri Lanka are literary texts. King Salamevan, who composed the poem "Sibaslakara" in the Sinhala poem "Kavadarsha" by Dandi, has included several verses that are not in the poem.

 "Peden Buddha Sirith - Ada Basin Sarith A

Pada Dhalai Basin Anulu A - Halari Ranka Dakwami"

The line "Pada Dhalai Basin Anulu A" in this verse makes it clear that there was a concept of drama. Many of the parables in Saddharmalankara and Poojavali mention dancing and dramatists. Parts of Sanskrit dramas such as Ratnavali, Bala Ramayana, Sakunthala, Nagananda have been quoted in the books Dharma Pradeepika, Sasandavatha Sannas, Bodhivansa, and Gatapataya. This is clear evidence that there was a considerable understanding of Sanskrit drama by this time. However, there is no evidence that these Sanskrit dramas were performed in Sri Lanka. 

Among the ancient Sinhala literature, Sandesha literature often depicts the society of that time. A text in the Vijayaba Venuma of the Gira Sandesha written during the Kotte period also shows that drama had a place in Pirivena education.

"Pawasan Saku Magada Elu Tamila Kavi Nalu" in the Keragala Pirivena Venuma of the Hansa Sandesha reads as follows. "The four decorative poets who speak with the eyes" When we look at these facts, three facts are clear.

1. Sanskrit drama was studied by monks.

2. Sanskrit drama texts were taught to Pirivena students. During the Dambadeniya period, drama was taught to students.

3. Even if some oral dramas were passed down from time to time, they were not able to create a drama tradition. Nor was there a literature of drama texts.

 Books related to the South Indian drama tradition of the late Kandyan period, written by Buddhist monks, entitled "Nritya Sada" (Birth of Dance), provide general information on the use of drama techniques such as puppetry, kolam and nadagam.