The prefaces to the first two volumes were confined to commentaries and references to his works. The intention of C. For the first fime in the history of Sinhala theatre, he is credited to have utilized a female character in his plays. She was one named Anna perera Kannangara after marriage who played the role of Romlin in the play of the same name. The people preferred to see the musicals that came from Bombay and known as performed by parsee nationalities.
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While Bastian used Parsee theatre melodies, John de Silva got down Indian musicians and utilised certain melodies so far absent from the local theatre scene. She was one named Anna perera Kannangara after marriage who played the role of Romlin in the play of the same name.
ජෝන් ද සිල්වා නුර්ති නාට්ය එකතුව-III-C.Don Bastian ; the predecessor of John de Silva
John de Silva was not only inspired by the creations of Bastian, but also seen as becoming a creator in a two — fold manner, as different from the former. The people preferred to see the musicals that came from Bombay and known as performed by parsee nationalities.
A timely need which was ascertained as nationalism, and the need to illustrate the trends of the alien cultures such as mannerisms and customs, dress fashions, speech sinjala, folk manners. The most significant person who emerged from this period was john de Silva — This is the third volume of a series of his complete works.
ජෝන් ද සිල්වා නුර්ති නාට්ය එකතුව-III-r23.info Bastian ; the predecessor of John de Silva - Wikibooks
It was also to his credit that the song came to be a marketed commodity. They were enthralled by these effects. He was a rich member of a rich family in Colombo, the capital of Sri Lanka. Although the history of Sinhala prose and verse writings goes as far back zinhala the distant past, the history of sinhala drama commences from the 19th century.
To address his need, he utilized his sinyala works. The embecced story line was borrowed from a foreign source and the theatrical model was based on the Parsee type of theatre performances. He was also a social reformer, a writer and a literary aesthete.
He was also the editor of the first daily sinhala news paper. The prefaces to the first two volumes were confined to commentaries and references to his works.
They were new melodies as against the already known melodies. A discriminative scholar of the works of these two dramatists would perceive that de Silva possessed a significant lift off from Bastain as regards the poetic vision and the use of theatrical techniques. This was marked as the 26th semtember when the play Romlin in which the first role played by a female was performed.
These parsee entertainment groups who came from time to time, to Sri Lankd, went on attracting the local audience in a continuous fashion, choosing their works in Colombo.
John de Silva
For the first fime in the history of Sinhala theatre, he is credited to have utilized a female character in his plays. Secondly de Silva transcended the limits of Bastian as regards the use of music component. Bastian is attributed as the theatre man who took the stage plays to the urbanized upper class from its extant common audience. These aspects as being influenced from foreign cultural traits were detedted by de Silva.
The intention of Ege. According to documentary evidence, plays of Bastian had been seen by Burghers, Tamils, Musilims, English, and even the English governor of the time too had come to see them. The present volume, which is the third one in the series is confined to his predecessor C.
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The melodies of the songs too were borrowed from the Parsee operas. Firstly, he fused his play contents to the spirit of the contemporary social issurs.
At that time going to see theatre had been the main recreation of those who lived in the urban sector. They too preferred to see sinhhala costumes, stage decor, and various magical and mesmerizing gimmicks on the stage.