Media Resources and training centre

The play is made up of everyday life activities. The place where the action takes place is defined as the stage. Drama is the best of human language that uses verbal and physical devices to reflect life. The stage is seen as a process and is used as a tool to achieve human development goals. The stage is a way to understand the nature of aggression. This is a collaborative effort of many. It invites people there to engage in creative processes. Creativity is defined as a process by which innovation can be achieved. The platform of the oppressed emerges from the belief that the role of society in changing oppression and achieving liberation from oppression can be critically explained. But drama for social change and liberation from oppression; has been used for years. This study explores the potential dynamics of drama to achieve an ideal goal based on theatrical literature. Theatrical font intended for content analysis methodology. The forum has helped people in Jaffna, Sri Lanka to develop their problem-solving skills to eliminate oppression, empower and strategize. It used theatrical methods to break down internal and external oppression into everyday life and future challenges. This study looks at how the Mansumanthamaniyar play, produced by Jaffna University students in the mid-1980s, which saw the intensification of the Tamil liberation struggle in Sri Lanka, motivated the youth and the people towards liberation and emphasized the principle of 'the nation became the people'.

The mass media is one of the major influencing forces in
society today. The overflow of information disseminated by mass
media has been increasing day by day which would be nearly
impossible to measure. Media messages bombard every individual
and their life. Media shaping and re-arranging the society. One of
the most important genres of media is crime, which is represented
in many different media categories from entertainment to news.
Crime is sensational. When doing Sensational reporting has been
affecting victims. Hence, considering the interest of those affected
such reporting should have been avoided. Also, such a move pushes
them into dangerous zones. Hence, media reporting should consider
this matter as well. Thus, special care should be taken while
reporting on women and children who could get affected quite
easily. Self-Censorship becomes important. Media reports should
be a tool to reduce fear among society. In Northern Srilanka school
girl who was gang-raped and murdered in 2015. A special court, a
Trial-at-Bar with three High Court Judges were investigated. The
trial was started in June judgment was released in September 2017.
Seven perpetrators were convicted and sentenced to death. Since
the case was going on in an open court, the media, in turn, show a
high interest in reporting. Each proceeding inch by inch reported
96 - Contemporary Media Culture and Communication
by the media. The various mass media prevalent socializing forces
in society today. The volume of information disseminated by mass
media has growing day by day. Media messages bombard everyday
life. Media influence is impossible to avoid and has an unquestionably
significant effect on society. One of the most important genres of
media discourse is a crime. Crime is represented in many different
media categories from entertainment to news and intermediate forms
such as infotainment. While entertainment media doubtlessly have
a significant socializing effect.

Dramas deal with the present issues in the society. They are the models to discuss with the public to disclose the subject matter to make a clear understanding by the public or readers. "Agniperumoochi" Drama is a evinces on the psychological treatment experiences and he will that makes it clear like a therapy. So, the paper unfolds the psychological element in the drama.

Thevananth Thevanayagam is the Founder and Director of the Active Theatre Movement, a fast-growing and popular theatre troupe in the Northern Province. He and fellow theatre lovers in the north have worked hard over the years to re-popularise drama and theatre among the local populace. Following are excerpts from an interview: Q: Tell us of your own history with theatre? Were you involved in it from your schooldays? A: No, I was a very shy, retiring schoolboy. In the eighth grade, I was called on to recite a piece of poetry in front of my class and broke down halfway through it. I couldn't manage something even that simple. I therefore never attempted anything close to getting on a stage during my schooldays. Q: How then did you eventually find your way into drama and theatre? A: It was while I was at technical college after my A'Levels. Some troupe advertised for youth to join; I volunteered and became hooked. I hadn't done well enough in my first A'Level attempt (math stream) to get into University. After getting involved with the theatre troupe, I re-sat for the Art stream the second time and qualified to read Drama and Theatre at Jaffna University. Q: Describe your experience at the university? A: We got into trouble even before we began. I belonged to the anti-raggers in Uni; we did not believe in kowtowing to the senior students' unreasonable demands during ragging. They laid down several rules for us freshers. We had to wear only bata slippers; we had to wear vesti and not pants; we could not come to university in our cycles. We flouted all those rules. When they prevented us from bringing our cycles into the university, we went by bullock cart instead. One day we dressed up a fellow student anti-ragger as an elderly bullock cart driver. The make-up was so good no one recognized him. The rest of us sat in the cart, drove it all the way into the university, and parked it outside the Kailasapthy Auditorium. Leaving the driver behind to guard the cart, we walked over and sipped some tea by the canteen to watch events unfold. We called this invisible theatre-where the audience would have no idea that a theatre was being enacted in their midst, but would participate in it anyway. Soon an outraged congregation of senior students swamped the cart and demanded of the driver to know who had brought it in. Unfortunately in the midst of this, it began to rain and the driver's make-up dissolved. The seniors became even more furious when they recognised him and attacked and dismantled the cart. We subsequently filed a case stating that we had every right to bring the cart into the premises (the university rules stipulated that students could ride in on any vehicle) and demanded our bullock cart be returned intact. The university had to close down for a month over this issue. The local papers, especially the Uthayan, gave us a lot of positive publicity

Drama relates to visual action that its capital. Therefore, the spectators are attracted towards the theatre. Mean time actors are the capital of theatre performances. Nowadays Modern Tamil theatre is trained non-actors, several of those who participated in the theatre training did not have any pre-experience in acting or performances, because of long-lasting war Tamil theatre lost its experienced traditional actors, need to train non-actors. They are being afraid about their body. Removing this fear from them and putting them on stage in-from of many people is a challenging task. Theatre training with folk elements must make them act without being fear. Participants were asked to travel through folk dances with drums (or Thalam). Whoever danced to the beat was asked to discover their body, but it was difficult task frustration and inferiority complex push them into misery. Eliminating this and bring a person to state of acting a character is in fact a very difficult task. But this task was made possible through folk theatrical training. This paper employed auto-ethnography research method and take advantage of the author's direct observation as creator, performer, and trainer. Information was also obtained from participants of the theatre trainings. Aim of this paper is to evaluate the effectiveness of metaphoric theatre methods in modern Tamil plays in north srilanka. Objective is to identify the effective training methods for non-actors. The active theatre movement uses "Metaphoric Theatre Method". Each one had to metaphor their stories into images. This is the main characteristic of folk theatre. The practice of applying a descriptive term of something on to some other things is called metaphor. This could be seen in the language culture of Tamils. Likewise, metaphors are also found in folk dramas. When a story is given in only one-dimensional nature, only those with that experience will understand it. On the contrary, when it is metaphorical it could be said that it gains a generality or generalist value. These images are created with this generality as the base. Because of this, those who see them will fit into them, their stories and experience. The paper concludes that, Tamil modern theatre training merged folk element for effective training for non-actors.

Art and culture speak of social problems.  An Artist is expected to stir upon seeing the degraded state of the others. The performing art of drama has an Extraordinary skill to attract people. It could be said that, when an artist made of flesh and blood express his sentiments through his body language, the lively situation created by it could not be equaled by any media. Drama, which is traditionally integrated into the life style of man, and the best media to expression of ideas. In the Northern Srilankan context dramas expressed war stories. Preparing personnel for drama is not only skill oriented. It is related to thoughts and feeling. The task of preparing theatre artists with social consciousness and skill is very difficult. As far as the drama is concerned human body and personality are its capital. The objective of this Training was creating an actor who will rule the stage with good communication skills. The body could be operated at will only if the mind is relaxed. Training is given for the relaxation of mind. Participants here are people affected by war. The “Displacement” had affected them very much. They were found to be people with their hearts hardened by several problems such as poverty, being uprooted from their lands, life without land, separation of families, scattering of kins, life losses, loss of materials, loss of education, guilty conscious of being unable to safeguard the lives and properties, addiction to alcohol resulting in poverty and breakup of families resulting from the above. And, several of those who participated in the training did not have any pre –experience in acting. Several were with shy nature, hesitation, social controls, inferiority complex and the fear about their body. Removing this inferiority complex from them and putting them on stage in from of many people was a challenging task. Youth are not aware of their inherent energy they have. To triumph over this, they should find their own body & mind. Through that, they could understand this inherent energy. This paper employed auto-ethnography research method and take advantage of the author’s direct observation as creator, performer, and trainer. Information was also obtained from participants of the training. The paper concludes that those who had received the Theatre Training affected by war presented their performances with extraordinary energy. When they stood alone and gave solo Theatre performances, their excellent body movements stood out as evidence of the above.

பிலிப்பைன்ஸ நாட்டின்; தலைநகர் மணிலாவிலிருந்து 1976 தொடக்கம் தமிழ் சேவை ஒலிபரப்பு நடைபெற்று வந்திருக்கிறது. மணிலாவில் தமிழர்கள் வசிப்பதில்லை இருப்பினும் தொலைவில் உள்ள தமிழ் நேயர்களுக்காக வெரித்தாஸ் தமிழ் சேவை ஒலிபரப்பு நடைபெற்று வந்துள்ளது. இது இலங்கை வடபகுதி மக்களின் நம்பிக்கைக்குரிய ஒலிபரப்பாக இருந்ததோடு, அதன் செய்தியறிக்கை யுத்தகாலத்தில் இலங்கை வாழ் தமிழர்கள் தகவலுக்காகத் தங்கியிருக்கும் மையமாகவும் அதன்வழி வாழ்வை வழிப்படுத்துவதாகவும் இருந்துள்ளது. இலங்கையில் உள்ளநாட்டு யுத்தம் நடைபெற்ற காலகட்டத்தில் வடபகுதி மக்கள் நாட்டின் ஏனைய பகுதிகளுடன் தொடபற்றவர்களாக காணப்பட்டார்கள். இந்தச்சுழலில் அவர்கள் தகவல்களைப் பெறுவதற்கு இலங்கை வானொலி மற்றும் புலிகளின் குரல் வானொலிகள் மட்டுமே காணப்பட்டன. அப்போது இலங்கை வடபகுதி ஒரு கிராமமாகக் காணப்பட்டது. இருப்பினும் அருகில் நடக்கின்ற சம்பங்களை நாட்டுக்கு வெளியேயிருந்து ஒலிபரப்பாகும் வானொலித்தகவல்களைக் கொண்டே உறுதிப்படுத்தினர். அதே வேளை தமது அரசாங்கத்தின் வானொலியை நம்பாது வேறொரு மையத்தில் இருந்து இயங்கும் வானொலிகளை நம்பினார்கள். இது  ஹெர்பர்ட் மார்~ல் மெக்லூஹான் குறிப்பிடுகின்ற புதிய  மின்காந்தவிளைவுகளால் ஒரு 'உலகளாவிய கிராமம்' உருவாக்கப்படுகிறது  என்பதோடு ஒத்துப்போகிறது. ஹெர்பர்ட் மார்~ல் மெக்லூஹானின் கோட்பாடு முக்கியமானது, ஏனென்றால் மக்களின் வாழ்க்கையில் புதிய தகவல்தொடர்பு ஊடகங்களைப் பயன்படுத்துவது மக்கள் ஒருவருக்கொருவர் தொடர்பு கொள்ளும் விதத்தில் மாற்றங்களைக் கொண்டுவருவது மட்டுமல்லாமல், அனைத்து மனித விவகாரங்களிலும் தீவிர மாற்றங்களைக் கொண்டுவரும் என்று அவர் வாதிட்டார். 'கிராமத்தின்' உருவகத்தில் இரண்டு வெவ்வேறு அர்த்தங்களை வேறுபடுத்திப் பார்க்க வேண்டும். ஒரு பொருளில், கிராமம் ஒரு சிறிய இடத்தின் கருத்தை வெறுமனே பிரதிபலிக்கிறது, அதில் மக்கள் விரைவாக தொடர்பு கொள்ளலாம் மற்றும் நடக்கும் ஒவ்வொரு நிகழ்வையும் அறிந்து கொள்ளலாம். "மின்காந்த கண்டுபிடிப்புகள் அனைத்து மனித விவகாரங்களிலும் ஒரே நேரத்தில் 'புலத்தை' மீண்டும் உருவாக்கியுள்ளன, இதனால் மனித குடும்பம் இப்போது ஒரு 'உலகளாவிய கிராமத்தின்' நிலைமைகளின் கீழ் உள்ளது  நேரம் ”நின்றுவிட்டது, 'இடம்' மறைந்துவிட்டது.  'நீட்டிக்கப்பட்ட புலன்களின்' மூலம் நிகழ்வுகளை அனுபவிக்கிறார்கள். இதனால் ஒவ்வொருவரதும் தனிப்பட்ட வாழ்க்கையின் ஒவ்வொரு அம்சத்தின் வடிவங்களையும் மறுவடிவமைத்து மறுசீரமைக்கிறது. நடைமுறையில் ஒவ்வொரு சிந்தனையையும், ஒவ்வொரு செயலையும், முன்னர் எடுத்துக் கொள்ளப்பட்ட ஒவ்வொரு நிறுவனத்தையும் மறுபரிசீலனை செய்து மறு மதிப்பீடு செய்ய இது  கட்டாயப்படுத்துகிறது. எல்லாம் மாறிக்கொண்டே இருக்கிறது ஒவ்வொரு தனிநபரும், குடும்பம்,  அக்கம் பக்கம்;,  கல்வி, வேலை,  அரசு, மற்றவர்களுடனான உறவு, அவை வியத்தகு முறையில் மாறுகின்றன. வானொலி, தொலைபேசி மற்றும் தொலைக்காட்சி போன்ற புதிய மின்சார ஊடகங்கள்  'உலகளாவிய கிராமத்தை உருவாக்குகின்றன.மக்கள் வானொலியைக் கேட்கும்போது அவர்கள் கேட்பதால் அவர்கள் பாதிக்கப்படுவதில்லை, ஆனால்; வானொலியைக் கேட்கும் முழு செயல்முறையினாலும் பாதிக்கப்படுகின்றனர். என்ற ஹெர்பர்ட் மார்~ல் மெக்லூஹானின் கோட்பாட்டின் அடிப்படையில் வெரித்தாஸ் வானொலி ஆய்வு செய்யப்பட்டது. இருபது வருடங்களுக்கு முன்னர் வெரித்தாஸ் வானொலி நேயர்களாக இருந்தவர்களிடம் மேற்கொள்ளப்பட்ட நேர்காணலின் அடிப்படையில் இந்த ஆய்வு மேற்கொள்ளப்பட்டது. முடிவாக, வெரித்தாஸ் வானொலி மக்களுக்கும் அரசுக்குமிடையிலான தொடர்பை தூரப்படுத்தியுள்ளது. அதற்கு மாற்றாக நீடிக்கப்பட்ட புலனின் மூலம் இலங்கைத் தமிழர்கள் ஆசிய கிறிஸ்தவர்களின் வானொலி மையத்துடன் இணைக்கப்பட்டார்கள். .......

Is in play. The play is made up of everyday life activities. The place where the action takes place is defined as the stage. Drama is the best of human language that uses verbal and physical devices to reflect life.The stage is seen as a process and is used as a tool to achieve human development goals. The stage is a way to understand the nature of aggression. This is a collaborative effort of many. It invites people there to engage in creative processes. Creativity is defined as a process by which innovation can be achieved.The platform of the oppressed emerges from the belief that the role of society in changing oppression and achieving liberation from oppression can be critically explained. But drama for social change and liberation from oppression; has been used for years. This study explores the potential dynamics of drama to achieve an ideal goal based on theatrical literature.Theatrical font intended for content analysis methodology. The forum has helped people in Jaffna, Sri...

Theatrical performances are not real, but a unique creation of real-life, It consists of two aspects, which are visual (Optical) and audible (acoustic). Both aspects take place in performing time and make a dramatic piece of real life. It is performed only for a limited time. It starts at a certain moment and then lasts and ends at another certain time. There is an actual real lifetime transformed as dramatic time. Then spectators are in real-time and dramatic time at the same time. In North Sri Lankan plays are produced by the stories of war-affected people. Since 2002, the Active Theatre Movement has brought many war-affected people’s stories to the theatre. The personal story expresses the form of effective social relationships, and gives many meanings, because those stories are complex, interconnected, and contradictory, a story performed by the human body is an expression of cultural conflict. Active Theatre Movement worked with no of war-affected people’s stories, like people ...

The theatre is a reflection of social reality. Theatre can be described as man's weapon for change and self-realization as he struggles to overcome the forces that are hostile to him in order to survive. The theater draws people’s attention through a dramatic presentation of issues. It makes the audience see their problems in new and critical ways. Northern Sri Lanka Tamil theatre has always sought to address ethnic conflict issues and was affecting the community. The people of the war-torn area are oppressed in various ways; in this oppressed society, the Active Theater movement raises its awareness of oppression through its theatrical performance. This study analyzes the theatrical project that took place with young people living in the war-affected area. Here the study is conducted on the basis of the autoethnography research method, researcher as an observer, creator, and direct participator of the research. In north Srilanka, theatre speaks about uncovers the deepest implications of the war victims and brings it into play, and ensures that the victims are able to overcome it in the best possible way.
KEYWORDS:
Post-war theatre, Physchosocial theatre, War tragedies, Srilankan Civil war

In Sri Lanka in 2002, the Sri Lankan government and the Liberation Tigers of Tamil Eelam (LTTE) signed a Memorandum of Understanding (MoU) with the help of the Norwegian government. The long civil war that followed came to a temporary end. The agreement fell into crisis after the Mahinda Rajapaksa-led government took over in 2005. During this period both sides used the ceasefire to strengthen their armed forces. In 2006, the situation worsened to such an extent that the conflict became apparent again. During the 2002 – 2006 peace accord, the play 'Kaarithedum Odankaal' was staged. Advocating that racism should be eradicated in Sri Lanka for lasting peace. As the play 'Kaarithedum Odankaal' was produced and performed during the period of the peace agreement and presents deep ideas about sustainable peace, it is examined within the definition of 'peace theatre'. Can the play 'Kaarithedum Odankaal' come under the definition of peace? Or does it violate it? The issues are addressed based on the information gathered through critical discourse analysis. In fact, the drama of Kaarithedum Odankaal plays the role of 'collective social pacification'. By making past tragedies so powerful, they identify those who caused them and make the audience aware of those power relations. It thus challenges peacetime peace by emphasizing its impermanence. This play was written and directed by Puduvai Anban. In the history of Eelan drama, Puduvai Anban, a dramatist, was involved in the theatre for liberation. He has also tried to create theater plays for peace. Puduvai Anban reveals through these two stages of activities that the theatre for liberation is an effort towards permanent peace.
Keywords: Theatre for peace, Theatre for liberation, Sri Lankan Tamil Theatre, war-time Theatre, Srilkan Conflict, Tamil independent struggle