Wednesday, June 14, 2017

Ronald Roy Twelve angry men - Dholos Wiyaruwa - Sajitha Anthony Final Scene

Dholos Viyaruwa දොළොස් වියරුව 
Drama and Theatre Unit
Special 2nd year exam production. 
University of kelaniya
Translated by Saman Liyanage and Nadee Kammalweera 
Ronald Roy"s 12 angry men.


Sunday, September 4, 2016

silgath billo
Silgath billo

 Interrelations among different ethnic and cultural groups have been seriously damaged by war, racism, animosity, prejudice and ignorance - Liyanage Amarakeerthi 
Contact now for Stage Shows 0716317707/0783938019/0713152232
nayomi thakshila
chandima karunadasa
 උන්ගේ හිත්වල අපි ගැනත් අපේ හිත්වල උන් ගැනත් ජාතිවාදය වැපිරවූ බිල්ලන්ට ශාප වේවා.
Interrelations among different ethnic and cultural groups have been seriously damaged by war, racism, animosity, prejudice and ignorance. . The continuously widening gap between different groups cannot be bridged without sustained efforts at creating opportunities for understanding. Art is one such opportunity for people to reflect on their own prejudices and anxieties. Vijith Nuwan’s play, Silgath Billo, is an interesting play that makes an admirable effort to unearth some complexities behind recent ethnic tensions after the ending of the war. - Liyanage Amarakeerthi.

silgath billo

දෙනෝ දාහක් ලෝකයා ඉවත හල ජිවිතේ. අහිමි හිමිකම ආදරේ...
සිල්ගත් බිල්ලෝ - Silgath Billo
Original Play by Vijith Nuwan

Contact Now For Stage Shows 0716317707/0712383933/0713152232

Presented by Academic Players
Tickets at the Gate
Photograph by Sajith Madushan Abegunawardhana
SMART Photography
Music Composition by Thilanka Gamage
Set Design - Vijitha Bandara
Choreagraphy - Nalin Lusena
Light Design - Saman Malalasekara
Costume Design - Juliyan Thakshila Mendis
Creative Graphic Design - Tharindu Ganganath
Makeup - Lakshika Sankalpa
Maleendra Jayawardhana
Nayomi Thakshila
Chandima Karunadhasa
Jeewanthi Perera
Prarthana Maduwanthi
Chamari Nisansala
Lakshika sumudu
More info
සිල්ගත් බිල්ලෝ - Silgath Billo
Youtube Page
silgath billo
අහිමි හිමිකම ආදරේ
Original Play by Vijith Nuwan
Contact Now For Stage Shows 0716317707/0712383933/0713152232
Presented by Academic Players
Music Composition by Thilanka Gamage
Set Design - Vijitha Bandara
Choreagraphy - Nalin Lusena
Light Design - Saman Malalasekara
Costume Design - Juliyan Thakshila Mendis
Creative Graphic Design - Tharindu Ganganath
Makeup - Lakshika Sankalpa
Photograph by Sajith Madushan Abegunawardhana
SMART Photography
Vocal - Dinupa Kodagoda

Monday, May 23, 2016

Niyangala Premaya Stage Drama  
Directed by John Dinesh Sandaruwan & Sudesha Lakmali
Watch the Video -
Music by Lahiru Madivila

blood wedding
chandima karunadasa 

chandima karunadasa

chandima karunadasa   and yasantha buddika

chandima karunadasa 

chandima karunadhasa yasantha buddika garcia lorca blood wedding university of kelaniya 

Contact Now For Stage Shows
Presented by Academic Players - University of Kelaniya
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In this Photo Chandima Karunadhasa & Yasantha Buddhika Sithkawi Saman malasekara
‪#‎photograph‬ by Priyankara Rathnayake
Federico Garcia Lorca Blood Wedding
‪#‎bloodwedding‬ ‪#‎garcialorca‬

Sunday, May 22, 2016

Dahas ganan wandambuwo 
Production of University of Kelaniya Stage Drama 
Translation of Ariel Dorfman"s Widows   
chandima karunadasa academic players university of kelaniya drama

 Article Review - දහස් ගණන් වැන්දඹුවෝ
by Anu Madhubhashinie (Department of English,UOK)
A magnanimous dose of anguish ~ review of "Dahas Ganan Wendambuwo", Sinhala adapation of "Widows"
After the much-relished rendition of "Blood Wedding" by the Academic Players, I decided to heed sight of their Sinhala adaptation of Ariel Dorfman's "Widows", titled, "Dahas Ganan Wendabuwo" (which in Sinhalese means, Thousands of Widows) Since I was told that the translation was courtesy one of my favorite Lecturers, Mr. Lakshman Fernando, I was very optimistic about the script even before I witnessed the performance.

lenin liyanage mihirani awanthi

chandima karunadasa mihirani awanthi widows ariel dorfman

 The set was very simple yet appropriately put up. I believe the actors were chosen very cleverly, and were directed with clarity by Sanjeewa Gunaratne. Except for a very few instances,comparing to Blood Wedding, the execution of dialogue was clear and poignant, and suitable to the original tone of Dorfman’s workmanship. There was an occurrence or two where I personally felt the play dragged for too long. However I assume it was derived from the distressed and depressing mood that enveloped the play, which made it less ‘entertaining’ and more ‘informative’. It, I believe, was the motive of the production after all.
My student became quite upset about the mournful plot, and being a vivaciously constant-positivist, left me to watch the play by myself halfway down the show. I intended to stay on course especially due to the powerful acting of the protagonist and main supporting roles, knowing it’ll be worth it in the end. And it truly was. smile emoticon

chandima karunadasa ariel dorfman widows - wandambuwo - universuty of kelaniya
 Chaturi Dayanika stole the show by her dynamic performance as the anticipating, elderly, Sophia Fuentes. Her execution of dialogue was equally strong as her action. She very easily earned the loudest applause by the audience in the end.
ariel dorfman widows - dahas ganan wandambuwo
I liked the puissant personality of the Captain depicted by Lenin Priyanta Liyanage. [Yeap, I know. And yeah that’s his real name. Communist connotations much, eh? ;)] However, many members of the audience had thoughts on the contrary as well.
Malindra Jayawardane killed it, by portraying an apt reflection of the sly, opportunistic soldier.
My favorite male acting performance award (hypothetically speaking of course!) goes to Asanka Gurusinghe, for his quirky yet sensitive guise of Emmanuel. His sturdy performance brought equal amounts of joy, and empathy towards the showcased troubled
chandima karunadasa academic players mihirani awanthi widows priyankara rathnayaka

Lakmal Dayaratne did justice to his minor yet extremely poignant role as well.
Lakshika Jayakodi nailed it by his personification of a worn-out, lost soul, Alonso, returned from a mysterious torment to which only his role can testify. Alonso didn’t have a single dialogue in the play, but had the biggest emotional impact during his characterization.
The women obviously made the play their own by their spontaneous yet illustrative performances. Chandima Karunadasa, as the antagonistic [very typically ;)] Alexandra [ What’s with her and the A’s? haha ], Ushani Prasangika as the determined yet submissive Phidelia, and the contemptuous Yanina who during the latter part becomes remorsefully enlightened,illustrated by Thilini Ruwandika, were all guised well by the Player-girls respectively.
The rest of the women enforced their roles with equal substance.
The soundtrack wasn’t original, but most probably next time the Players should engage originality there as required, in order to a higher level of authenticity in the production. I personally reckon the lighting could’ve been managed better; specially during the monologues of the Captain and the emotional rendition of Emmanuel and his lady. Emotions could’ve been evoked a bit more and the fluctuating moods of the performances could’ve been addressed more as a result of specificity in lighting.
As a relative translation though, the script worked wonders. There were equal stances given to elaborate classical language as well as the colloquial [with an ample amount of slang; which was entertaining], of Sinhala. We in the academic sphere knew it was a “typical-Lakshman-sir-script” - phrase there directly translated!
I doubt that a crowd looking for pure entertainment would enjoy the play, as said before, due to its rueful narrative. As an adaptation of a world-renown classic though, it was a just specimen. Once again, keep playing, Players!