Peacebuilding through Theatre Arts in Sri Lanka: "Checkpoint" as a Case Study

Abstract

In Sri Lanka, the contribution of the arts towards conflict studies and peacebuilding is rarely acknowledged, and many scholars and conflict resolution activists seem to exclude this area consciously. While all forms of the arts have the potential of making an impact on conflict peacebuilding, theatre can be highlighted as effective as any other form of art because "theatre is (also) a form of knowledge; it should and can be means of transforming society" (Boal 2001 :xx). Moreover, Boal (1979:7) states that "drama is practically effective in changing attitude because it holds the real experiences of its participants in mind at the same time that it creates an imagined world in which characters are engaged in struggling with the central paradox". The treatment of this research is twofold. Introductorily, the study views, in brief, what peacebuilding is; amongst a myriad of definitions that are transient and influx some relatively important theorists are discussed. Next, the theoretical backdrop to applied theatre is examined so that the dynamics of applied theatre could be examined in detail in the textual analysis. Here, theatre is recognized as a successful mode of building and rekindling memories: memories help people to build identities, restructure them, give them the drive and construct their politics. Then, in the first part of the study, the research records the trends in theatre in Sri Lanka and its receptiveness towards "peacebuilding" by looking at textual evidence in some of the plays that have been written based on the issue of the ethnic conflict in Sri Lanka. iv