Wallowed in paradox | Daily News

Wallowed in paradox

Peter Wedamuni Perera
Peter Wedamuni Perera

This nation belongs to royalty. We have been familiar with that notion since the colonial times and then the Independence. But this same royalty seems to hinder the future of the nation, as most opinion leaders point out.

Peter Wedamuni Perera belongs to that cluster. He believes that Sri Lanka lags far behind other nations because of its royalty notion. He addresses that issue in his latest stage production, Royal Ibbek (A Royal Tortoise), along with a solution.

“Our royalty doesn’t seem to suit us. Our journey is much slower than a tortoise. Since Independence, we have not made much of a progress. It is disturbingly prevalent from the top class of the leadership to the lower strata of the society. That grim reality paints the metaphor of the tortoise. It is nothing but a paradox when you say royal tortoise because the two words sit in diametrically opposed poles. But that exactly explains where we are as a nation in today’s highly globalised world. As a nation we still cannot overcome the social and political crises we are trapped in,” Perera offered a prologue to his production.

Peter’s passion for drama materialized while he was still schooling. Drama and music ignited his passion. His schoolmaster D P Hettithanthri observed that passion and introduced him to Professor Ediriweera Sarachchandra who in turn had him in the cast of Elova Gihin Melova Ava. That cleared the path for Peter to emerge as a professional dramatist.

He tested the waters as a professional in 1977 by scripting and producing Ambalakada Nade for the National Youth Council Drama Festival. He produced a series of dramas such as Man Mudliyar. Royal Ibbek is his latest production based on the reality that prevails in Sri Lanka at present.

The drama industry survives solely on patronage, as Perera observes. Over the counter tickets do not rake in money for the dramatists. Although that earns a considerable profit, it would not suffice to survive in the industry as a professional dramatist. One major hindrance for the drama industry is the musical concerts organized in a gala manner. That distracts the connoisseur’s attention to a vivid sphere.

The stage play is an entertainment genre that demands serious attention. Its entertainment mode is much plainer than most other modes now available.

“That was quite different before the open economy was introduced. In the seventies, I remember, the dramatists flourished without much patronage or sponsorship outside. Tickets available over the counter earn them bread and butter more than enough,” Perera noted. Perera also observes a wide difference between the Sinhala and English audiences. The English productions usually staged at the Lionel Wendt attract a sizeable audience despite the comparatively exorbitant rates of the tickets. Incidentally, the productions are superior quality as well. The Sinhala productions do not attract a similarly sizeable audience even with lower ticket prices. It is a discouraging factor for the Sinhalese stage directors.

“In a way, that blocks the path to genuine stage directors. Most talented stage directors tend not to waste their time on a futile project. It affects the Sinhalese drama industry in the long run,” Perera observed.

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Immediately following his school education, Peter Wedamuni joined the pioneering batch of Dhamma Jagoda Shilpa Shalikava to study theatre. The Shilpa Shalikava period connected him with the giants such as Ediriweera Sarachchandra, Henry Jayasena, Daya Alwis, Gamini Haththotuwagama and Sunitha Perera. Wedamuni studied with Ravindra Randeniya, Suminda Sirisena, H A Perera, Gamini Samarakone and Parakrama Niriella.

His maiden theatre effort, Ambalakada Nade, produced in 1977 was placed second as the best production. He also received several other accolades such as Ben Sirimanna Memorial Award given for the best actor along with the awards for the best make-up and the best emotional actor. Encouraged by that recognition, Wedamuni then produced Man Mudliyar in 1995. His Ahas Bandana reached the second round of State Drama Festival. His next play was Nadaya Dandukade.

In 2011, he was honoured with the Kalabhushana award in recognition of his service rendered to the Sri Lankan culture. Since then he has been engaged in composing melodies and lyrics.

Royal Ibbek is his latest theatre effort adorned by Edward Jayakody’s music. The play stars Dimuthu Chinthaka, Rajasinghe Loluwagoda, Lakshman Amarasekara and Gamini Weerakone. The stage background is designed by Sirinatha Wickramasinghe.

Royal Ibbek will be premiered at the Namel-Malini Punchi Theatre on September 23 at 3.30 and 6.45 pm. 


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