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Indigenous Folk Styles and the Creation of a 'Modern Sinhala Theatre' in Post-Independence Sri Lanka

机译：独立后的斯里兰卡土著民俗风格与“现代僧伽罗剧院”的建立

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摘要

While indigenous Sri Lankan drama has not yet achieved significant international recognition, it inherits an abundant ritualistic tradition and a range of philosophies and techniques that have both similarities and differences to those in other countries of the region. Among most of the South Asian nations, the traditional theatre based on rituals is considered a theatre of both the outer and the inner eye. This is because such traditional theatre is related to a spiritual journey that is connected with rituals and religious beliefs. However, when a nation experiences intercultural contacts as a result of colonial domination, the question of cultural identity becomes more complicated. "Indigenous Folk Styles and the Creation of a 'Modern Sinhala Theatre' in Post-Independence Sri Lanka" explores the development of Sinhala drama from its earliest manifestations to the post-independence period, examining the impact of indigenous folk theatrical forms on the work of the most significant postcolonial dramatists, and on the plays that they produced. Beginning with the early folk styles of Sokari, Kavi Nalu, and Kolam, and progressing to later imported forms such as Sinhala Nadagam, Nurthi, and Kavi Nadagam, the dissertation proceeds to examine the work, starting in the 1950s, of Ediriweera Sarachchandra, Dayananda Gunawardena, and Gunasena Galappaththi, focusing on a single pivotal piece by each playwright to illuminate the influence of folk styles on their distinctive visions of what a new Sinhala drama might look like. In the process, this study explodes a number of myths and misunderstandings regarding Sri Lanka's folk heritage that grew out of Sarachchandra's seminal study The Folk Drama of Ceylon (1952) and have continued to appear in subesquent scholarship down to the present day. My work aims to disentangle interpretive complications surrounding the principal indigenous Sri Lankan folk styles, in the process seeking to secure more reliable information on these forms and their characteristics. At the same time, by drawing connections between indigenous styles and post-independence theatrical movements, I demonstrate the essential role of the former in Sinhala culture prior to the advent of Western and other influences, and show how they continue to inflect Sri Lankan drama today.
机译：斯里兰卡本土戏剧虽然尚未获得国际上的广泛认可，但它继承了丰富的仪式传统以及与该地区其他国家既有相似之处又有不同之处的一系列哲学和技巧。在大多数南亚国家中，以仪式为基础的传统戏剧被视为外眼和内眼的戏剧。这是因为这种传统戏剧与与仪式和宗教信仰有关的精神之旅有关。但是，当一个国家由于殖民统治而经历跨文化交往时，文化认同问题变得更加复杂。 “土著民俗风格和斯里兰卡独立后创建'现代僧伽罗剧院'”探讨了僧伽罗戏剧从最早的表现形式到独立后时期的发展，并考察了土著民间戏剧形式对桑那拉戏剧的影响最重要的后殖民戏剧家，以及他们制作的戏剧。从索卡里（Sokari），卡维·纳鲁（Kavi Nalu）和可拉姆（Kolam）的早期民俗风格开始，发展到僧伽罗·纳达甘（Sinhala Nadagam），努尔希（Nurthi）和卡维·纳达甘（Kavi Nadagam）等后来的进口形式，本文着手研究从1950年代开始的Ediriweera Sarachchandra，Dayananda的作品。 Gunawardena和Gunasena Galappaththi着眼于每位剧作家的一个关键作品，以阐释民间风格对僧伽罗新戏剧的独特愿景的影响。在此过程中，这项研究激起了有关斯里兰卡民间遗产的许多神话和误解，这些神话和误解源于萨拉奇坎德拉（Sarachchandra）的开创性研究《锡兰民间戏剧》（1952），并一直出现在后来的学术研究中。我的工作旨在消除围绕斯里兰卡主要土著民俗风格的解释性复杂性，在此过程中寻求获得有关这些形式及其特征的更可靠信息。同时，通过在土著风格和独立后的戏剧运动之间建立联系，我展示了前者在西方和其他影响出现之前在僧伽罗文化中的重要作用，并展示了他们如何继续影响今天的斯里兰卡戏剧。

著录项

  • 作者

    Bulathsinghala, Lakshmi Damayanthi.;

  • 作者单位

    State University of New York at Binghamton.;

  • 授予单位 State University of New York at Binghamton.;
  • 学科 Theater.;Performing arts.;South Asian studies.
  • 学位 Ph.D.
  • 年度 2018
  • 页码 306 p.
  • 总页数 306
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 水产、渔业;
  • 关键词

  • 入库时间 2022-08-17 11:37:36

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