The emergence of anti-government drama and politics

The relationship between society and politics is transformed through certain trends, reforms, etc. that arise in the political context.  Through those transformations, the stage plays that are created in each stage are restructured.  Further study of such instances reveals that almost all theatrical dramas created during the periods of youth uprisings, leftist movements, social oppression, social class uprisings, etc., were chosen as contemporary political contexts.  It can be seen that the play reflects the spontaneous inspiration from the existing political structure.

•  The stage play against such social oppression can be called anti-government drama.  71 JVP.  It is clear that the drama that was themed and directed through the revolt, the ethnic crisis among the Tamil people through the 77 open economic policy was largely from that era.  The plays include "Subha and Yasa", "Dunna Dunu Gamuwe", "Modara Mola", "Mana Ranjana Strike", "White Terror", "Puss Lodang", "We Have No Way To Son", "People Who Fell From The Sky",  Cora and the Blind ".  The influence of the youth uprisings of the 1970s and 1980s, in particular, was largely reflected in the works of art of the time.         The insurgency failed to achieve its intended goal due to lack of proper leadership and guidance, lack of adequate manpower, weapons and strength, and large numbers of young people were left frustrated.  it was.  With many people being killed and others being arrested, the insurgency that erupted from them for the sake of this youth unrest failed and the political context in the country was revived as before.

 However, in this drama 'Subha andYasa', which was produced and staged in a society that was feelin the heat of a melting struggle, thstate was ridiculed and ridiculed, and the king was portrayed as a symbol of the "prosperous" proletariat, using the symbol of the bourgeoisie  Also represents.  Subha and his comrades are engaged in the liberation struggle for power.  Taking advantage of the king's foolishness, he tactfully obtains the kingship.  But after gaining power, instead of fulfilling the needs of their own class, they themselves become slaves of the bourgeoisie and even give up the class struggle.  The play begins and ends with the dialogue "The maid gives me a pot of honey".  Through this dialogue, the playwright realizes that the proletariat also becomes a member of the bourgeoisie itself, and that its aims and aspirations are diluted, even if one tries to seize power from the bourgeoisie.  Through the subtle satire that is built up about the state and the regime, the persuader seeks to make effective contemporary social events.  It presents a deep political perspective by incorporating the contemporary political structure into a historical narrative.  The ruler of the state and the cabinet that he strives to protect his position and power from close quarters.  The playwright who is being ridiculed reminds the spectator of the current power struggle.  The revolution, which begins as the first progressive force, ends as a reactionary force.  Despite the satirical taste in this auspicious and eloquent story, which is brought to the fore with great restraint about the current political leadership, there is a deep political perspective underlying the satire.  This auspicious and eloquent drama was staged at a time when the revolutionary youth uprising of 1971 and the relentless repression of the Samagi Peramuna government and its involvement in the uprising were being investigated and punished and acquitted.  With an anti-government theme.

 Anti-government drama can be seen as one of the ways in which the relationship between theatrical art and society changes on the basis of the change in the relationship between society and politics, and the good and bad presented by Simon Nawagattegama is a great result.  The emergence of such a wave of anti-government drama in that era, which coincided with the transformation of politics with the 1971 uprising, illustrates the relationship between drama creation and politics in Sri Lanka.