A Study On The Role Of The Director In Sri Lankan Folk Dramas
R.M.USHAN PERERA
University of Sri Jayewardenepura – Sri Lanka
+94 77 4 575 501
ushan.pushpakumara@gmail.com
Abstract
When using a play script to direct, two basic parts can be identified. The first is the dialogue layer spoken by the characters trained by the actors. The dialogue layer is used to maintain verbal communication between the characters as visual artists on stage. The second layer is the directing process. Here, “directing” can be described as a non-verbal text. In it, the director explains the process to be carried out by all the visual artists and supporting artists involved in the play. These explanations include suggestions on how the backdrops should be placed on the stage, how to use lighting and their colors, as well as suggestions and ideas on how the characters should be handled on stage, explaining the relationships between the characters. All of these ideas and suggestions are used for the audiovisual creation that ultimately unfolds on stage and its basic idea. Although this directorial role is very modern, the process can be identified in folk dramas through other nominal usages without the nominal use of director. There are three main types of folk dramas in Sri Lanka. Kolam, Sokari and Kavi Nadagam are the three. In these folk dramas, the characteristics of the role of the modern director can be identified through characters such as Gura, Gurunnanse, Kariyakarwavana Rala, Sabe Vidane. This research paper discusses the role of the drama director as identified in the folk dramas of Sri Lanka through participant observation.
Keywords – Folk Drama in Sri Lanka , Play Director, Gurunnanse , Kariyakarwavana Rala
DOI link – https://doi.org/10.69758/GIMRJ/2501I01S01V13P0001
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