The Ramayana (review)

The Burmese dramatic version of the Ramayana, the narrative that underlies the culture of most of continental Southeast Asia, has transformed the Hindu epic into a Buddhist drama with the protagonist Rama being a previous incarnation of Buddha. The Ramayana was selected for the third time as the dramatic text for the national competition at the Myanmar National Theatre, an event that also included contests of solo performers in dance, singing, song composition, instrumental music, and marionette troupes.

Six troupes, each comprised of about thirty-five actors and musicians came from the various Burmese states to perform. All were required to present the same new version of the text that had been edited and consolidated under the auspices of the Drama Association, the organization that oversees all stage performance in Myanmar. Only one troupe, from the town of Pyapon, maintains a continuous tradition of performing the epic in its entirety. After the fall of the Burmese court to the British in 1885, actors from Mandalay traveled south and settled in Pyapon where their families have annually presented a nine-day, ninety-one-scene version with the roles being inherited from one generation to the next. In the competition, however, it presented the same condensed version as the five other troupes that were comprised mostly of amateur performers, teachers from both campuses of the University of Culture, as well as a few professionals.

Attempting to cover in three hours all the main events of the epic—the King's discovery of the baby Sita in a dirt clod, the brothers Rama's and Lakkhana's immersion in the lake of fire, Rama's marriage to Sita, the demon Dasagiri's abduction of Sita, her recovery by Rama with the help of the monkeys, and her test of chastity—the competition Ramayana occasionally seemed like a series of tableaux vivants with the actors scarcely having enough time to recite their lines. However, in the climactic scenes they exhibited their skills in verse recitation, singing, and stylized movement. The climax of all the 2002 presentations occurred when Rama and Dasagiri compete for Sita by lifting and stringing a magic bow. Royal suitors are summoned to contend for her hand, and when Dasagiri finds a discarded invitation and falls in love with her portrait, he decides to participate. Dressed in brilliant dark green, with a nine-headed mask and tiered headdress, the demon flies to the court on his magic chariot. Every troupe represented it as a miniature chariot shooting across the sky on strings with Dasagiri, a moment later, stepping off a wood chariot rolled out from the wings. His unexpected appearance at the august gathering is always dramatic. Though Rama and Lakkhana quiver with indignation, and Sita cries plaintively, hiding from his lecherous glances behind a gauze scarf, he insists on his right to test the bow.

Two previous contestants who strutted, puffed, and pumped up their puny muscles provided a comic foil to his evil power. They leered at Sita and one asked cheekily whether lifting Sita would win him the bow. They tugged, pulled, made silly grimaces, and finally defeated, staggered back to their seats. In contrast, Dasagiri danced around the bow, punching the air above his head to demonstrate his demonic strength. He managed to lift the bow, much to the consternation of Sita, but was unable to string it. Lakkhana, the personification of fraternal love, dressed in a glittering gold costume and mask, was the next contestant. He danced gracefully in a wide bow-legged stance, lifted the bow, set it down to string it, and paused, looking first at Sita and then at Rama. He then quietly replaced the bow on its stand. His grandfather was incensed at his failure and threatened to beat him, but Rama prevented it, as he understood the magnitude of Lakkhana's sacrifice. Rama quickly lifted and strung the bow. He aimed it at Dasagiri, who with equal alacrity, jumped onto his chariot...