Mathanavelu Pillai

In the 1950s, the gradual shift in the educational, social and economic status of the local Tamil speaking Indians led to the inclusion of appreciation for contemporary dramas widely together with traditional themed dramas in designated drama theatres such as Victoria theatre and New theatre and not in makeshift proscenium stages where audiences sat on the ground or less apt badminton hall. Although shows were ticketed at affordable prices, there are complimentary counterfoils that show that those who could not afford were issued complimentary tickets to enjoy the theatre arts.

Nationalistic themed dramas (1942) – Baratham, Desiya Kodi

During the Japanese invasion in 1942, Pillai staged nationalistic dramas to convey Gandhi’s independence movement messages of Indian self-rule to the Tamils in Malaya –Singapore who were widely affected by the political changes in India. Thus he used drama as a tool to bridge nationalistic sentiments and also bring home closer to the Tamils.

Pillai received 14 commendation letters from the British over a period of 15 years from 1939 to 1954 for excellence in staging productions that were appreciated by the plantation estate workers. Among them, one commendation memorandum is written to appreciate his service in training 15 untrained young men and staging a play successfully.

Pillai is recognized as a pioneer of the Tamil theatre arts by the Indian Heritage Board due to his contributions to the Tamil theater in Singapore and Malaya in the 1930s-1950s. He acted, wrote plays, and staged over 60 productions for Tamil audiences. Pillai helped preserve Tamil culture and language during the colonial era, the Japanese Occupation and the post Japanese period.

Pillai's plays were staged on temporary proscenium stages in the rubber and coconut estates throughout 1930s-1950s, which were set up prior the performances and dismantled after the last show. Earlier all the roles were played by men who had good performing skills and rendered the story through dialogues, soliloquy, singing and dancing and assuming female roles as per tradition. The performances only started late in the evenings around 9.00pm and ended wee hours in the morning. And due to his vast musical knowledge, it was common for some of his musical compositions to be set according to the music tradition of composing music pieces based on ragas corresponding to the time, season and emotions (navarasas) whenever possible.

Although the traditional street theatre consisted of male actors, contemporary dramas in the late 1930s, included female artists in lead roles like Pillai's daughter, Devaki Mathanavelu Pillai.

Pillai arrived in Malaya-Singapore in 1925 with the Troupe. The decision to stay in Malaya marked the beginning of his extensive theatrical career.

Pillai acted, scripted his dramas, managed and staged several street theatre or terukkuttu. Terukkuttu. and later contemporary drama productions, under his Devaki Dramatic Troupe in Singapore and Malaya between the pre-Japanese Occupation years, 1925 to 1959 as documented in the commendation letters that were issued by the British, handbills, drama posters and other memorabilia over a period of 28 years of service to the theatre arts with an inclination towards contemporary dramas during the post-colonial years. Pillai was also invited to play the harmonium or manage productions for aspiring companies due to his versatility in theatre arts.

Mathanavelu Pillai (1906-1971) was an Indian playwright, actor and producer in Malaysia and Singapore.

Thiruchirappalli Mathanavelu Pillai was born to Thiruchirappalli Maruthaiya Pillai in 1906 in Tiruchirappalli, British India into a landlord's family that owned agricultural lands. He lost his parents at a young age and was left in the care of his sister.

Pillai was an avid reader and an enthused playwright, who dramatized Hindu epics and characters of Vedic puranas, famous Indian folklores told as early as the 12th century for his drama productions. Some of these tales and biographical characters were adapted and expanded from other non-Tamil Indian literature and novels for stage presentations such as Chandrakanta a literature adaptation from an 1888 fantasy novel written in Hindi by Devaki Nandan Khatri.