My love, my love, my love - Lokazatkonzatkonloka

Poetry and drama

It can be said that there are two types of literature that are rare and disappearing in Burmese literature today.

Of these two rare and rare types of literature, one is called At-Katpatti Sapay (including autobiographies). Nowadays, almost no biographical books are published. As an exception, one or two books are published. For example, Sayar Pargu's book "Bava Kree Si" (Wa Moe Aung) and "Pandita Bana" (A Glimpse of World Buddhist Literature Scholars) (Yaypye Bookstore), which will be reprinted, Sayar Thaktho Sein Tin's book "Bo Gyi Aung San Thuriya Taikchon" (Amman Thit Sapay), and Sayar Minbu Kyaw Myaing's book "Bhaw BCS.

Another type of literature that is becoming rarer, like biographies, is drama. The term drama refers to books written in a broad sense, such as plays.

Nowadays, there are almost no books on historical events (read-only events). The same applies to books about historical events and Burmese historical events. In the past, historical events were written by teachers such as Daw Amar and U Thein Naing. Later, there were not many books on historical events. Not long ago, the book Panwangba written by Saya Bo Kalay Tint Aung was published. It re-examines the historical events and historical trends of Myanmar as a writer's experience. Although not in the form of a book, there are also articles on historical events and historical events written in magazines. For example, the article on historical events that I read in the Kalya magazine, written by Ms. Ju.

A great book has now been published to fill the gap in the literature of this rare and lost story.

The book is titled “The World Stage, The World Stage” and the author(s) will be Teacher Daw Khin Myo Chit and Teacher Chit Oo Nyo.

(First edition, Amman Thit Literature)

(This book contains (7) articles by Teacher Daw Khin Myo Chit and (13) articles by Teacher Chit Oo Nyo. Daw Khin Myo Chit's

The articles provide an overview of the history and nature of world theatre (European theatre), and the history and nature of Burmese theatre. Daw Khin Myo Chit compares East and West (theatres) and points out the needs for the development of Burmese theatre. The history of Western theatre from the time of the Khama to Shakespeare, Oscar Wilde, and Bernard Shaw, and Burmese theatre from U Punya to Thakin Ba Thaung and U Nya Na, is not only historical but also provides comparative criticism.

Sayar Chit Oo Nyo's 13 articles also contain unique research and analysis. Sayar Chit Oo Nyo has thoroughly analyzed topics such as free verse dance, opera, lamentation, yaim, children's dance, the role of the prince, the dance of the medium and the maiden, and the dance of the two-legged couple.

Regarding this book, "The World's Stage, The World's Stage," book critic Maung Lu Din said...

“In any case, this book is small, but it is full of substance and carries a lot of weight. I would like to make a bold comment that, like the books on drama written by Lut Daw Ama, it is a book that should be adopted by students of drama schools and cultural universities, as well as the entire world of drama and drama,” he wrote.

(Rainbow Journal, 1997, May)

Now, I am reporting back on my interview with the author, Sayar Chit Oo Nyo, about the book.

- Dear Teacher Chit U Nyo, actually, I would like to meet and ask questions about Teacher Daw Khin Myo Chit. However, Teacher Daw Khin Myo Chit's age and health are important.

Because of that, and I was afraid that it would upset the teacher, so I decided to interview her. First, tell us a little about the background behind publishing this book, "Two Grandmothers and Two Grandchildren."

- Before I get into the background, let me first talk about the great teacher, Daw Khin Myo Chit. Sayar Moe Thet Zaw said that it was because of her age and health (and I was afraid that I would offend her). Yes, it was because of her age and health. We all know that the great teacher’s mental and physical health had deteriorated. But if Sayar Moe Thet Zaw had gone to ask her about her age and health, I think that despite her age and health, she would have been more willing to talk. Although she kept her ears and mouth shut about what she wanted to hear or not, when it came to literature and art, she was like a phoenix. I have often encountered her. My mother is a real phoenix who can jump into the flames, consume the flames, and replenish her vitality with new strength. I am sure that if Sayar Moe Thet Zaw went to discuss this book with her, she would not have been offended. She said, “I have a lot to tell you.

- The status and potential of Burmese drama. There are many who have said this. It's like being on a ship that is sinking with a huge belly, like being stuck in a hole in the ground, like being stuck with a huge mouth, like being stuck with a big

But if you ask, you have to answer. When I was sorting through the information in my head to answer this question, the following statement from Dr. Than Tun's paper came to mind:

( 1) Keep it from getting lost.

(CONSERVATION)

(2) Prevent further damage

(PRESERVATION)

(3) Reconstruct without losing the original

(RESTORATION)

There are 3 tasks that we need to do regarding the culture that we have inherited.

In Burmese drama, I can't explain it in detail, so I'd say, "I'm confused." When I gather the evidence from scholars, analysts, and well-meaning people, this is what comes out.

- Status

Burmese drama has been in decline for a long time, almost two decades.

Let's explore the background to why this is happening.

( 1) The silence of the theatre professionals.

( 2) Reduction in direct inheritance.

( 3) There are no permanent large theaters.

( 4) No more major festivals.

( 5) The still-existing large-scale gazetted pagoda festivals also include stalls, land, and auctions.

Big..

( 6) High transportation and general expenses (including festival tax)

( 7) That's why the entrance fee, mats, and chairs are so expensive.

( 8) A stage show-like program that will relive the drama on stage

They produce.

(9) The audience is no longer paying attention to the show.

( 10) Being influenced by other forms of entertainment.

( 11) The participants themselves should study and strive to improve their knowledge of the arts.

The number of cases has decreased, etc.

That is the situation and the background factors. Let me guess what the potential will be based on this situation.

There is a principle. According to the law of conflict and conflict. If we do not want these benefits to occur, we must eliminate their causes. Now, if we can prevent and eliminate the causes that occur above, Myanmar drama will recover.