The next period is from 1949 to 1966.
It can be called "The Golden Age" of Singapore's Tamil Dramas.
I would like to compare it with the spring season.
Only the dramas from Tamilnadu (India) were staged in Singapore thus far.
But, this was the period when
when the Tamils who came from Tamilnadu thought of staging plays based in Singapore.
This is the period when they decided to write dramas based on the social issues present here.
This is when they brought their families here.
They managed work and took care of their families simultaneously.
Our nation was beginning to form during this period.
When we look at the history of Tamil Drama,...
...we should also look at the country's political, social and economic backgrounds.
If you consider those aspects, ...
people have formed many drama crews during this period.
In Singapore, from 1950 to 1970, ...
...there were approximately 50 - 60 drama troupes.
Tamil Youth Foundation, 'Muthamizh Kala Mandram', Singapore Youth Voice Drama Foundation,...
Rationalist Drama Foundation
Anna Drama Foundation
D. M. K. Art Group
Sarma Drama Group
Sembawang Arts Foundation
Singapore Indian Fine Arts Association
Bharathidasan Arts Group, Bharathidasan School of Arts Group, Vennila Arts Foundation,
There was 'Tamizhavel Drama Association' as well.
Kannan Drama Group
Singapore Indian Artists Association
Kannika Arts Foundation
Tamil Reform Association
Changi Tamil School Drama Team
There used to be 'Aravindar Arts Group'.
There wasn't much support from the government.
There wasn't much.
There wasn't much importance given to arts in those days.
Nevertheless, they formed so many drama troupes.
And they staged dramas amidst much competition.
What could be the reason?
They did not receive any funds.
They invested their own money to stage a play.
This shows their passion for the arts and for it to reach the people.
That's why I call it 'The Golden Age' and 'spring season'.
The stage plays that I watched during those days had a great impact on me.
It inspired me to take part and further improve Singapore Tamil Theatre.
We wanted to change the old ways...
and do something innovative...
...to make it reach people faster and better
...in a way that people would accept.
This inspired me to form Rationalist Drama Association.
We had 10 - 15 artists.
It was based on issues like rationalism, reform, ...
...education, untouchability, alcoholism, etc.
To convey all these messages, we conducted dramas like campaigns.
S. Varadhan was running an arts group named 'Rationalist Drama Association'.
He heard that I am acting in radio dramas.
He came home and took me with my parents' permission.
S. Varadhan was the one who introduced me to stage plays.
I am very thankful to him.
My life as a drama artist started from there.
I have acted in my plays for Rationalist Drama Association.
'Thalainagaram', 'Manimagudam', 'Dr. Sundar', 'Thali Engae', and many more.
Many drama teachers were rising during this period.
A special mention goes to Mr. S. A. Sharma.
He wrote and staged about 10 full-length dramas during this period.
And more than 60 operettas.
He was the first one to introduce and popularise operettas here.
Besides that, he staged dramas abroad.
He staged many dramas in Indonesia and Malaysia.
He staged plays based on Singapore there.
At the same time, he staged many other new plays.
It wasn't just based on social issues.
He introduced science fiction and mystery dramas too.
He has published his dramas as books too.
That effort should be appreciated.
If you read that book, you will notice that the Tamil he uses is very simple.
This shows how easily this would have reached the people then.
He never had a separate drama troupe.
Once he wrote the drama, he chose actors accordingly and staged the plays.
This effort has to be appreciated as well.
Many plays were staged in those days.
There were many drama troupes too.
About 15 - 20 drama troupes.
Rationalist Drama Association, Anna Drama Association, to name a few.
They used to stage many plays.
I used to go watch.
They used to stage plays mostly in theatres at 'New World' and 'Happy World'.
On the days when there are no Tamil dramas, Chinese plays used to be staged.
There used to be 3 - 4 theatres for Chinese dramas.
Tamil plays used to be staged as well.
I used to watch it without fail.
Social reform dramas written by Aasai Thambi, Karunanidhi, Annadurai were staged most of the time.
While watching, I used to wonder why all dramas looked similar.
The dialogues used to be similar.
For a 2 - 3 hour long drama, they used to close the screens around 30 times.
There is a chance for many people to get bored.
Similar dialogues, similar acting.
I was thinking of ways to change these things.
I used to have a chat with them.
Once the drama is over, I used to look for the drama coordinater ...
...and ask, "Why are the dialogues so long? Can't it be shortened?"
"Why are the dialogues very complicated? Why use many fancy words?"
Their reply was, "That's how dramas are!"
Then I thought that that's the style of drama.
When I saw such dramas, I thought it should be revived.
Then I thought, "Why don't I do it myself?"
That's when I entered the field of drama.
The first drama I wrote was 'Bhavani'.
When Vijaya empire was in Indonesia,
Tamil kings were ruling at that time.
Singapore and Malaysia were controlled by them.
I wrote a drama based on that and named it 'Bhavani'.
Many people in Malaysia enjoyed that drama.
In 1952, they wanted to stage this play for Malaysia day.
Many people wrote to me that they are willing to stage the play and asked for my permission.
I was okay with it.
This drama was staged in seven places.
I was very happy.
When this play was staged in Taiping, Mr. Sarangapani was the guest of honour.
He was pleasantly surprised.
That's because I worked for him before.
And I had written and staged a drama all by myself that too in a far land.
He was pleasantly surprised.
It was a history drama.
He was very happy to see the overwhelming positive response for the drama.
