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Lanka's soul on the proscenium

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released: February 24, :00 pm | Last Updated: February 23, :59 pm | A + A A -

I believed that reading PhD dissertations "rarely and reluctantly, / under unbearable forced" should be done, since the Polish poet Czeslaw Milosz recommends in connection with the writing poetry. I've revised my opinion on the topic after reading some research foodsertings that have read from them - the last in the line, which is in the line Thamizhachi Thamizhia's island in the island: the voice of Sri Lankas Australian Drywright, Ernest Thalayasingham Macintyre (Emerland Publishers, 2013).

On someone who casually picks it up, the work could appear very esoteric. Sumathy Aka Thamizhachi has not only chosen to focus on a writer of Sri Lankan Diapora in Australia, as opposed to something familiarity, which exists with authors of Sri Lanka origin from North America and Europe, she also elected a playwright If fiction and poetry also have a playwright have so far been the focus of studies about Sri Lanka diasporic literature. However, a closer look will show that the book is for all who are interested in issues of identity, displacement and performance. It is also for those who for some reason have a piece of their heart in Sri Lanka to try to see what kind of understanding and commitment from the distance is possible to see what is possible for Ernest Thalayasingham Macintyre.

These days there is much impatience to speak diasporic nostalgia or even post-colonial studies. Slavoj Zizek recently called the latter, a pseudo discipline, which was invented by third lipses in the westswest school. Thamizhachi Thangapanner's work seems clear to record diasporic nostalgia as a central literary experience, and instead focuses on how Ernest Macintyre creates his instruments as a playwright to maintain tensions between the issues of ethnic and racist identity and general humanist empathy, between assimilation and the Criticism, between seriousness and comedy recognizing that "all our tragedies are desperately desperate with all kinds of relief," as the playwright watched in a personal interview with Sumathy.

Thamizhachi Thangapandians Discussion by Macintyre's 1981 Play Let's Give them Curry or Dark Dinkum Aussies is a beautiful example of their simultaneous commitment with their many texts. the text of the game; The background of the political theater in both Sri Lanka and Australia; The historical scenes of the migration of Sri Lankans to Australia; And the varied aspirations and frustrations of the various ethnic groups of Sri Lanka settled in Australia. Already in 1981 Ernest Macintyre moved only with the emotional currency of diasporic longing to using his game, and instead made his main work a critique of emerging multiculturalism in Australia in Australia. The focus shifts to the younger generation to have more than questions of "Sri Lankan-Ness" and "Australian-Ness" with which they deal with. You have a new "Multin-Multin" to invent, invent and inhabit yourself, and Macintyre shows how this work is not the exclusive burden on the children of migrants, but also other younger Australians, which until then a safer feel had at home, a much clearer feeling, who heard and arrived, about

The country. Thamizhachi Thangapandian captures the Nitty-Gritty the aspects of the MacInrye work very carefully and shows continuously, as theater - live performance of bodies, which are racially, ethnic and generational; and expression of lines in accents who carry the stamp not only from place and time, but also traveling - becomes the best medium for Macintyre to explore its subtle questions that reject the simple and fast position; The leaned political accuracy. In a rare and touching gesture of reciprocity, MacInrye, in his foreword to the book Thamizhachi Thangapandian, suggests that their research on his work is again of inspiration and guidance. He says, "Her valuable work over my living body may possibly hire my course in other directions in which I seek me."

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