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Main Actor : Sriyantha Mendis
Main Actor : Jackson Anthony
Main Actor : Thumindu Dodanthenna
Main Actress : Kusum Renu
Main Actress : Yashoda Wimaladharma
Director : Jayantha Chandrasiri
Producer : Maalee Hettiarachchi
Producer : Thusitha Halloluwa
Producer : Shantha Hettiarachchi
Cast
Actor : Arjuna Kamalanath
Actress : Nilanthi Dias Karunarathna
Actress : Damitha Abeyratne
Actor : Kamal Addararachchi
Actress : Kumari Munasinghe
Actor : Dimuthu Chinthaka
Actor : Rex Kodippili
Actor : Buddhadasa Withanaarachchi
Actor : Buddhika Jayarathna
Actor : Saranga Dissasekara
Main Actress : Kusum Renu
Main Actor : Sriyantha Mendis
Main Actress : Yashoda Wimaladharma
Main Actor : Jackson Anthony
Main Actor : Thumindu Dodanthenna
Crew
Editor : Ravindra Guruge
Make-up Artists : Wasantha Wittachchi
Art Director : Sena Mambulage
Art Director : Eral Kelly
Music Director : Nadeeka Guruge
Producer : Maalee Hettiarachchi
Producer : Thusitha Halloluwa
Producer : Shantha Hettiarachchi
Director : Jayantha Chandrasiri
Q: Looking back on your career which commenced with theatre, with ‘Sarasvathi’ in 1979 and with plays such as ‘Oththukarayo’, how do you perceive the alterations that occurred in contemporary Sri Lankan theatre?
A: ‘Sarasvathi’ was the sequel of training and learning of screenplay acquired through a workshop behaved by a German Trainer to produce a crew of vocational actors and actresses. He selected twenty five youngster via advertisements on medium and I was 1 of them. However, I trust my career in drama commenced with ‘Ath’ produced in 1985. At the time I penetrated drama as a weapon which could see the complicated society and enlighten the audience of the reality. On the additional hand, actors favor Kamal Addaraarachchi, Jackson Anthony and Sriyantha Mendis who played another characters in my dramas, were stimulated by catena of workshops I behaved by Shalika hall.
Compared with dramas in 1970s, I do not penetrate many contextual difference in contemporary dramas; as in those days, today adaptations are made and translations of dramas are done. However, the weaknesses in original plays which were in 1960s and 1970s, are still there and some of the original dramas are weaker aboard many aspects to original dramas produced in 1970s.
‘Ath’ was highly appreciated by critics such for Sugathapala de Silva, Ajith Samaranayake and Tissa Abeysekara. It was rather unconventional and maximum of the commentators did no comprehend the activity. Sugathapala de Silva, Ajith Samaranayake and Tissa Abeysekara prepared the spectators. ‘Ath’ became a prototype. Though I did not generate adaptations or translations, in truth my all three dramas were elemental creations; I read and saw colossal digit of translations and adaptations of dramas.
Except Jayalath Manoratne who produced a crowd of original dramas including ‘Lokaya Taniyayak’, ‘Talamala Pipila’, ‘Guru Taruwa’ and Rajitha Dissanayake’s original productions, I do not see any bound of development in original dramas produced in Sri Lanka. Though Jayalath Manoratne produced translations and adaptation, his most mighty wording namely in original productions. I believe that original dramas have still space because promotion. A large number of translated dramas were produced and I would meditation they were very successful, principally translated dramas by Dharmasiri Bandaranayake and Prasanna Vithanage. They became subjects of public talk but I still believe in producing original dramas.
Q: Your subsequent entrance into the media of television with gift wining teledramas such as “Weda Hamine”, ‘Dadubasnamanaya’, ‘Akala Sandaya’ and “Rejana’ not merely marked one major landmark in your profession yet too in Sinhala teledrama which was hardly ever , confined to a triangular formula woven nigh medium class famil