Sunila abeysekera biography of william shakespeare

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    • The papers of writer Michael Ondaatje consist of handwritten notebooks and manuscripts, annotated drafts, typescripts, proofs, research material, personal and professional correspondence, travel journals and notebooks, personal and professional papers, promotional material, works by others, and electronic files.The papers are organized into five series: I. Works, 1904-2014, undated; II. Correspondence, 1970s-2015, undated; III. Personal and Professional Papers, circa 1960s-2015, undated; IV. Works by Others, 1968-2009, undated; and V. Serials and Publications, 1951-2007.The papers arrived in bankers boxes organized by Ondaatje's long-time assistant, Tulin Valeri, and Ondaatje's son, Griffin. The collection also contains some sticky notes written by Ondaatje, Valeri, or Griffin identifying and providing context to the material. These have been kept and rehoused in polyester sleeves for preservation purposes. Please note that any title in the container list within single quotations (' ') indicates the title was taken from a folder, sticky note, or the material itself.There was little original order to much of the material. While there were some folders, envelopes, and bags used to separate material, boxes typically contained sizable amounts of loose material. In most cases, items were dated and allowed for chronological ordering.Series I. Works primarily documents Ondaatje's published works from 1976 to 2011. Materials include notebooks, typescripts, notes, correspondence, publicity materials, and research materials. Subseries A. Novels, Collections, and Nonfiction documents Ondaatje's literary career with a heavy focus on works published after In the Skin of a Lion. Publications included are Anil's Ghost, The Cat's Table, The Cinnamon Peeler, The Collected Works of Billy the Kid, Coming through Slaughter, The Conversations: Walter Murch and the Art of Editing Film, Divisadero, The English Patient, From Ink Lake, Handwr

    Hiran Abeysekera

    Sri Lankan actor

    Hiran Abeysekera is a Sri Lankan actor. He won the Laurence Olivier Award for Best Actor for his performance in the stage adaptation of Life of Pi. On television, he is known for his roles in Russell T Davies' A Midsummer Night's Dream (2016) and the tween dance series Find Me in Paris (2018–2019).

    Early life and education

    Abeysekera was born in Colombo and grew up during the Civil War. His father was a garage owner and his mother taught English. Abeysekera was educated at Nalanda College Colombo.

    When he was 18, Abeysekera lost his friend in a tsunami. He had begun studying to become a doctor, but decided to pursue his passion of theatre because "life can end at any second". Having obtained a diploma from the Lanka Children's and Youth Theatre Foundation, he played the lead role in a British Council production of Peter Shaffer's Equus in 2007. This enabled him to audition for drama schools in the UK, following which he secured a place at the Royal Academy of Dramatic Art. He graduated in 2011.

    Career

    Abeysekera made his professional stage debut with the English Touring Theatre in 2011, playing Valere in Tartuffe. In 2012 he joined the Royal Shakespeare Company in Stratford-Upon-Avon and was cast as Bartholomew in The Taming of the Shrew. In 2015, he played Peter Pan on the London stage.

    In 2016, he returned to the Royal Shakespeare Company and played Puck in a film adaptation of A Midsummer Night's Dream, which was screened by the BBC. He played Posthumus in their stage production of Cymbeline at the Barbican Theatre London, and Horatio in Hamlet.

    In 2018, Abeysekera began appearing in the Hulu series Find Me in Paris, portraying the role of

    A review of (Un)making Time: ‘My Other History’ and ‘Rondo’

    Image from ‘Rondo’

    Image from ‘My Other History’

    “We are all capable of believing things which we know to be untrue… And then, when we are finally proved wrong, impudently twisting the facts so as to show that we were right. Intellectually, it is possible to carry on this process for an indefinite time: the only check on it is that sooner or later a false belief bumps up against solid reality, usually on a battlefield.”

    George Orwell, In Front of Your Nose

    In early 2011, Tracy Holsinger of Mind Adventures Theatre Company and Jake Oorloff of Floating Space Theatre Company were awarded a grant from the Sunethra Bandaranaike Trust to interrogate, through theatre, the idea and theme of reconciliation. The resulting plays were staged in April under the title (Un)making Time and featured two compelling productions – ‘Rondo’ directed by Tracy Holsinger and Arun Welandawe-Prematilleke and ‘My Other History’, written and directed by Jake Oorloff. Though bound by a central theme and shared leitmotifs, the productions were fundamentally different. Brief impressions of both have been recorded on this site. Capt. Elmo Jayawardena said,

    “Little plays like ‘My Other History’ wake us to re-think. The message was clear, it wasn’t in fancy drapes and opulent neon but in dimly-lit candle-light. It showed the soul of the matter, surrounded by looming shadows that stalked to scare the admittance of the reality in each of us”.

    Award-winning human rights activist Sunila Abeysekara had this to say of ‘Rondo’,

    “In the context of contemporary Sri Lanka, perhaps one expected a piece of theatre more directly related to our own current reality, in which the aftermath of a bitter and bloody war haunts our present. And perhaps not, actually. When the reality is too complex and difficult to even attempt to represent it, when the silences and absenc

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    By Uditha Devapriya –

    Uditha Devapriya

    Regi Siriwardena was probably the greatest English prose stylist this country bred, but over the years I’ve come to remember him less as a writer and poet than as an incisive yet flawed commentator.

    Writing to the Lanka Guardian in March 1979, for instance, he argued that the Buddhist clergy in this country was devoid of the kind of radicalism which had been nurtured by the Protestant clergy in the 19th century and the Catholic clergy in the 20th. His essay, superficial at one level, was nevertheless convincing, so convincing that it compelled Professor Kumari Jayawardena to pen a four-part rejoinder

    Jayawardena’s point was as cogent as Regi’s was reductionist: that throughout history, and not just that of the Buddhist clergy, revolts and rebellions led by the institutions of the status quo have congealed into reactionary movements, which explains the later retrogression of the Buddhist revival to its contemporary chauvinist character. While it’s difficult to take sides and understand which “reply” was historically accurate, I prefer Professor Jayawardena’s contention, because it was backed by research.

    Now to my point.

    Somewhere in the 1970s there was a paradigm shift in the social sciences, particularly in postcolonial societies. The late S. B. D. de Silva probably had this in mind when he wrote in 1982 that “[r]esearch in the social sciences in underdeveloped countries has, of late, metamorphosed into a variety of big business.” This is the point that Susantha Goonatilake brought out in his seminal work Recolonisation, which as one perceptive reader told me was more a compilation than a work of sociology; Goonatilake’s book indicts almost everyone, from the usual suspects like Charles and Sunila Abeysekara to Marxist stalwarts like Leslie Goonewardena to otherwise ideologically different individuals like Siriwardena and Jayawardena.

    How did the social sciences transform into a variety of big bus