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This volume is a collection of five Sinhala plays, translated into
English, which were written and performed during the most violent
phase of modern Sri Lankan history. Ranjini Obeyesekere's
translation of these five well-known and celebrated plays by K. B.
Herath, Prasannajith Abeysuriya, Dhananjaya Karunarathne, Prasanna
Jayakody and Rajitha Dissanayake highlights and explores the
dynamic period of Sri Lankan theater and performance arts in the
1980s and 1990s. The plays in this collection offered a political
space for criticism, introspection, discussion and protest during a
time of suppression of voices, political violence and terror.
Audiences flocked to the theater to watch plays produced by
talented dramatists and artists who were experimenting with forms
and themes under extremely challenging circumstances, shoe-string
budgets and strict censorship. Kanchuka Dharmasiri's introduction
to the volume further details the history and socio-political
contexts of the theater of this period, discussing themes such as
dissent, identity and the brutal power of the state. She also looks
at the unique formal elements employed in these plays as well as
their influence and reach. This volume is a significant addition to
the growing corpus of Sinhala literature in translation. It will be
an essential read for scholars and researchers of literature,
performance studies, cultural studies, and the politics and history
of Sri Lanka.
This volume is a collection of five Sinhala plays, translated into
English, which were written and performed during the most violent
phase of modern Sri Lankan history. Ranjini Obeyesekere's
translation of these five well-known and celebrated plays by K. B.
Herath, Prasannajith Abeysuriya, Dhananjaya Karunarathne, Prasanna
Jayakody and Rajitha Dissanayake highlights and explores the
dynamic period of Sri Lankan theater and performance arts in the
1980s and 1990s. The plays in this collection offered a political
space for criticism, introspection, discussion and protest during a
time of suppression of voices, political violence and terror.
Audiences flocked to the theater to watch plays produced by
talented dramatists and artists who were experimenting with forms
and themes under extremely challenging circumstances, shoe-string
budgets and strict censorship. Kanchuka Dharmasiri's introduction
to the volume further details the history and socio-political
contexts of the theater of this period, discussing themes such as
dissent, identity and the brutal power of the state. She also looks
at the unique formal elements employed in these plays as well as
their influence and reach. This volume is a significant addition to
the growing corpus of Sinhala literature in translation. It will be
an essential read for scholars and researchers of literature,
performance studies, cultural studies, and the politics and history
of Sri Lanka.
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