Ms. Chamanee Darshika Hewagamage

Qualifications:

• Doctor of Philosophy (Ph.D.) in Theatre with a Specialization in Performance as Public Practice (2026 to present)
  Department of Theatre and Dance, College of Fine Arts, The University of Texas at Austin, Austin, USA.
• The Master of Philosophy (M.Phil.) (2021 to present)
  Faculty of Graduate Studies, University of the Visual & Performing Arts, Colombo, Sri Lanka. Research Topic: “Gendering Nurti and Sinhala Nationalism: The Emergence of Female Actors in the Early Modern Sinhala Theatre (1900-1950)”
• M. A. in Arts and Aesthetics (2021 – 2023)
  The School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi, India.
  First Class Honors.
• Bachelor of Performing Arts (Special) Degree – Dance & Drama (Specialized in Acting) (2015-2019)
  Faculty of Dance and Drama, University of the Visual and Performing Arts, Colombo, Sri Lanka.
  Second class upper division.
  Thesis title: The Actor’s Being in Theatre: A Phenomenological Study.

Profile:

Chamanee Darshika Hewagamage is a Ph.D. student in Performance as Public Practice program, Department of Theatre and Dance, University of Texas, Austin, USA. She earned her M.A. in Arts and Aesthetics from Jawaharlal Nehru University in New Delhi, India, and is a faculty member in Acting and Performance Studies at the University of the Visual and Performing Arts, Sri Lanka. Chamanee is a theatre scholar, educator, and practitioner whose research explores gender, nationalism, embodiment, actor training, and performance practices in South Asia, with a particular focus on Sri Lankan theatre. Her M.Phil. research, Gendering Nurti and Sinhala Nationalism: The Emergence of Female Actors in Early Modern Sinhala Theatre (1900–1950), examines the relationship between gender, performance, and nation-building. Before transitioning to experimental performance, she performed in mainstream theatre in Colombo and New Delhi. Her creative and scholarly work brings together historical research and performance practice. Her recent works include Performative Elements of Buddhist Nuns’ Traditions in Sri Lanka, presented at the Movement Rhizome 2025: Quillian International Symposium on Sri Lanka at Randolph College, and A Response to Tea Dance, created during the Unrehearsed Artist Residency with Nava Dance Theatre, California. She published Awilena Andakaraya (2025), a translation and analysis of a play by Kuzhandai M. Shanmugalingam, and has co-authored forthcoming chapters in Bloomsbury and Routledge volumes on Sri Lankan theatre.

Research Interests:

• South Asian Theatre History
• Embodied Pedagogy
• Feminist Theatre
• Community Theatre
• Theatre and Healing
• Contemplative Studies
• Local Knowledge Traditions

Publications:

Book:

• Hewagamage, C. (2025). Awilena Andakaraya: The play script and an analysis of Kuzhandai M. Shanmugalingam’s theatre practice (Sinhala medium). Athirai Publication.

Chapters in Books:

• “Twenty-First Century Dramaturgy in Sri Lanka: Renewed Engagement with Rituals and Traditional Performance Practices” in Decolonizing Dramaturgy in a Global Context to be published 2026 by Bloomsbury. Co-authored with Sudesh Mantillake and Packiyanathan Ahilan. Edited by Magda Romanska and Kee-Yoon Nahm
• “Sri Lankan Theatre” in Asian Theatre Then and Now: A Guide for the Future to be published in 2027 by Routledge (UK). Co-authored with Sudesh Mantillake and Packiyanathan Ahilan. Edited by Stratos E. Constantinidis and Esmaeil Najar.
•  “Playing with Sinhala Buddhist Nationalism: The Career of Lakshmi Bai, Muslim Actress and Impresario in Sinhala Theatre” to be published in June 2026 by SADI – South Asian Dance Intersections Special Issue (2026–27):  Marginalized Voices and Histories Editor-in-Chief: Dr. Yashoda Thakore.
• Hewagamage, C. (2025). “I did not choose plays, plays chose me: An analysis of Chamila Peiris’s artistic practice.” In C. Bogamuwa (Ed.), Abhinaya (15th ed.), Award-Winning Actors (1962–2012) for 50 Years.
• Darshika, C. (2022), “රංගභූමිය තුළ නිළියගේ/ නළුවාගේ පැවැත්ම (Being-in-the theatre) පිළිබඳව ප්‍රපංචවේදී අධ්‍යයනයක්”, ප්‍රවේශ 02 නව්‍යය පර්යේෂකයන්ගේ බිහිදොර, Social Scientist Association, Colombo, 89-105.

Peer Reviewed Journals/Journals:

• Hewagamage C. (2025), “Encounter between Foot, Earth and Energy: Experiencing the Suzuki Method as a Sri Lankan Theatre Artist-Scholar.” Nrtyasastra, The Journal of the Department of Kandyan Dance, SIBA Campus, Volume 1, Issue 1 (November 2025). (Annual Publication, N-JDKD-SIBA).
• “Ediriweera Sarachchandra’s Observations on the Decline of Nurti Theatre: A Close Reading” Co-authored with Sudesh Mantillake in Krishantha Fedricks and K. Perera eds. Sāhitya Literary Journal, Special Volume 2024. Colombo: State Literary Advisory Council, Department of Cultural Affairs, Ministry of Buddhasasana, Religious and Cultural Affairs, Sri Lanka. 2024. (pp. 27-36). ISBN: 978-624-5726-53-0
• Darshika H. C. (2021), “Angampora Challenges Gender Identities in Practice.” Mise en Abyme, VIII, Issue 2, (July-December 2021), VIII. https://issuu.com/journal.abyme/docs/mise_en_abyme_-_special_issue_-_uvpa_-_liyanage_ho/s/14930766. ISSN: 2284-3310.

Paper Publications:

• Darshika, C. & Ahilan, P. (2022), “Pandemic Theatre: ‘One can only laugh’ by A. Mangai”, IQAC- Enabled and ICSSR-SRC sponsored Online National Conference on Women Empowerment in the Time of Covid-19 Crisis, Women Self Défense Training Centre Annamalai University, Annamalainagar, Tamil Nadu, India Internal Quality Assurance Cell (IQAC) Annamalai University, India 6-12.
• Darshika, C. (2022), “Identifying the Theatrical Possibilities of Kutiyattam for Non-Formal Education”, the International Conference on ”Incorporating Elements of Theatre Into Pedagogy at Different Levels of Education”. Nirmala Institute of Education, Goa, India, 211-218.
• Darshika, C. (2022), “The Actor’s Being-in-the theatre: A Phenomenological Study”, Prevesha 02 – The Gateway for Emerging Researchers, Social Scientist Association, Colombo, 89-105.

Teaching Experience:

Lecturer, Dept. of Theatre, Ballet and Modern Dance, Faculty of Dance and Drama, University of the Visual and Performing Arts. (2023 – to present)

Courses Teach: (Theory & Practical)

• DDRA 11022- Introduction to Dramatic Medium
• DDRA 11033- Acting Introduction I
• DDRA 12082- Acting Introduction II
• DDRA 21024- Actor’s Studio – I
• DRDA 22084- Actor’s Studio – II
• DDRA 31023- Theatre in Context: Evolution of Comedy
• DDRA 31054- Interpreting Dramatic Texts
• DDRA 32064- Actor’s Studio IV
• DDRA 32084- Applied Theatre I
• DDRA 41013- Theatre in Context: Trends of World Theatre in the 20th and 21st Centuries
• DDRA 41033- Applied Theatre
• DDRA 43056- Dissertation
• DTBM 22012- Acting Skills
• DDBC 32012- Acting Skills II

Visiting Lecturer in the Department of Integration Design, Faculty of Architecture, University of Moratuwa, Sri Lanka. (2025)

Courses Taught: (Practical)

• Design Project 02- Workshop Collaboration – Human Body as a Design Context

Workshop Conductor organized by Movement Rhizome, at the Karaliya Convention Centre and Center for Performing Arts, Kandy, Sri Lanka. (2025)

Courses Taught: (Practical)

• Embodied Dialogues: Workshop in Applied Theatre

Visiting Lecturer in the Department of Fine Arts, Faculty of Arts, University of Peradeniya, Sri Lanka. (2024 – to present)

Courses Teach: (Theory & Practical)

• FNA 3050 – Dance and Performance Studies
• FNA 4030 – Dance for Community Engagement

Visiting Lecturer/Workshop Conductor, Centre for Meditation Research, Faculty of Medicine, University of Colombo, (2025).

Courses Taught: (Practical)

• Module 04 CMR course– Creative Arts and Happiness.

Visiting Lecturer in the Department of Performing Arts, Faculty of Sri Palee Campus, University of Colombo, Sri Lanka.

Courses Taught: (Theory)

• Thesis Supervisor (2024-2025)

Visiting Lecturer in the Department of Public Administration, Faculty of Management of  Uva Wellassa University, Sri Lanka. (2023-2024).

Courses Taught: (Theory & Practical)

• Drama and Theatre (HRD 232-2)

Workshop Conductor in the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi, India. (2023)

Courses Taught: (Practical)

• SAA Dance studio 1: “Dramatis Personae of Kandyan Dance”

Workshop Conductor in the Faculty of Medicine, Sabaragamuwa University of Sri Lanka (2022)

Courses Taught: (Practical)

• Basic Acting Skills for beginners

Assistant Lecturer, Drama & Theatre and Image Arts Unit, Faculty of Humanities, University of Kelaniya, Sri Lanka (2020 to 2022)

Courses Taught: (Theory & Practical)

• DMAT 11223 C  Rituals and Folk Theatre of Sri Lanka
• DMAT 13234 C  Practical-I
• DMAT 23234 C  Practical-II
• DMAT 21544 C  Chinese and Japanese Theatre
• DMAT 21534 C  Modern Sri Lankan Theatre
• DMAT 31514 C  Aesthetic and Art Criticism
• DMAT 41522 C  Seminar on Shakespeare

Workshop Conductor, Musicmatters School, Colombo (2015- 2019)

Courses Taught: (Practical)

‘tha la la’ Community Music Project.

Fellowships, Awards:

• Maulana Azad Scholarship Scheme for the Nationals of Sri Lanka for the academic session 2020-21 (MEA-G0185).
• Maulana Azad Scholarship Scheme for the Nationals of Sri Lanka for the academic session 2021-22 (MEA-G0185).
• The Research Symposium Faculty of Dance and Drama, University of the Visual and Performing Arts, 2018, A research paper of “ස්ත්‍රීත්වයේ ගොදුරක් වූ කුවේණිය” (2018), The best presenter of the symposium.

Panel Discussions and Curatorial Roles:

• Hybrid Panelist, Building Resilience through Art & Performance Roundtable, Movement Rhizome 2025: Quillian International Symposium on Sri Lanka, Houston Memorial Chapel, Randolph College, Lynchburg, VA, USA (2025).
• Curator, Beyond Rhizome: Artistic Exploration, The Routes We Take, Kandy – Two-day showcase of emerging contemporary expressions and exhibition (2025).
• Coordinator, International Performing Arts Conference (IPAC), Faculty of Dance and Drama, University of the Visual and Performing Arts, Sri Lanka (2025).
• Curator, Movement Rhizome Atelier, International Conference on Dance Studies, Department of Fine Arts, Faculty of Arts, University of Peradeniya, Sri Lanka (2024).
• Panelist, Movement Rhizome Atelier Roundtable, International Conference on Dance Studies, Department of Fine Arts, Faculty of Arts, University of Peradeniya, Sri Lanka (2024).
• Discussant (Sri Lanka Representative), Dance Studies in University Spaces in South Asia – Session 03, organized by World Dance Alliance Asia Pacific (2024).

Research Paper Presentations:

• Hewagamage, C. & Bessenger, S. M. (2025), Performative Elements of Buddhist Nuns’ Traditions in Sri Lanka, presented at Randolph College, VA, USA.
• Liyanage, S.P.D., Dissanayake, W.D.N., Darshika, H.C., & Arachchi, R.M.K. (2025). “Wow! I love it. This is what happiness is”: Exploring creative arts as a tool for happiness and well-being. International Performing Arts Conference (IPAC), Faculty of Dance and Drama, University of the Visual and Performing Arts, Sri Lanka.
• Darshika, C. & Ahilan, P. (2025), Clinical reports, collective trauma, and therapy; Understanding Mother set the fire (‘Annai itta thee’- 1991) as a contemporary theatre production, CREATIVE-2025, Rabindra Sangit Dance & Drama (RSDD), Sangit Bhavana, Visva-Bharati, Santiniketan
• Darshika, C. & Ahilan, P. (2022), Pandemic Theatre: “One can only laugh” by A. Mangai, IQAC-Enabled and ICSSR-SRC Sponsored Online National Conference on Women Empowerment in the Time of Covid-19 Crisis, Women Self Défense Training Centre, Annamalai University, Tamil Nadu, India.
• Darshika, C. (2022), Identifying the Theatrical Possibilities of Kutiyattam for Non-Formal Education, International Conference on Incorporating Elements of Theatre into Pedagogy at Different Levels of Education, Nirmala Institute of Education, Goa, India.
• Darshika, H. C. (2021), Lack of Representation of Women in Common Human Liberation: From Henry Jayasena’s Play “Kuveni”, 5th International Conference on the Humanities, Faculty of Humanities, University of Kelaniya, Sri Lanka.
• Darshika, C. (2019), Identifying the Actor as a Political Being, International Research Symposium, University of the Visual and Performing Arts, Colombo 07, Sri Lanka.
• Darshika, C. (2018), වේදිකාව තුළ නළුවාගේ පැවැත්ම [Actor’s Being-in-the Theatre], International Research Symposium, University of the Visual and Performing Arts, Colombo 07, Sri Lanka.

 Workshops and Training:

• Training of Trainers Programme on “Learning to live with Diversity” (2024)

Conducted by the University Grant Commission in collaboration with the Staff  Development Center, University of Moratuwa.

• Community Theatre Workshop (2023)

Jokering Justice – An Introduction to Theatre of the Oppressed

Sambhaavnaa Institute, Himachal Pradesh, India.

•  START/STOP – Acting Workshop (2022)

Third Space Collective, Alaknanda, Delhi.

•  Actor Training Lab (2021)

World Bank Funded – Ahead dor Hems Project

Faculty of Graduate Studies, University of the Visual and Performing Arts.

• Production-Based Devising Workshop (2015)

Conducted by Ruwanthi de Chikera

Stages Theatre Group, Colombo, Sri Lanka.

• Suzuki Method Workshop (2019, 2023, 2025)

Conducted by Dr. Deborah Leiser Moore.

Organized by University of the Visual & Performing Arts, Colombo, Sri Lanka.

• Practice as Research Workshop (2023)

Conducted by Purav Goswami

The School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi, India

Community Theatre Practice:

Applied Theatre Project (DDRA/D/B 41033)
University of the Visual and Performing Arts, Colombo, Sri Lanka

• Worked with women at Polonnaruwa, Sri Lanka (2025)
• Worked with the fishing and farming community at St. Anne’s Shrine, Talawila (2025)
• Worked with women at the Home for Blind Women, Nittambuwa, Sri Lanka (2024)

Mahaweli Authority of Sri Lanka

• Conducted theatre workshops with youth of the Mahaweli Zone at the Police Training School, Aralaganwila, Anuradhapura (2025)

Unrehearsed Artist Residency

Nava Dance Theatre, San Francisco, CA, USA

• Engaged in community theatre with the Bogawantalawa tea plantation community, Bogawantalawa, Sri Lanka (2024)

Sambhaavnaa Institute of Public Policy and Politics
Himachal Pradesh, India

• Participated in theatre workshops and practice with the Sambhaavnaa community (2022)

Seminar on Shakespeare (DMAT 41522 C)
University of Kelaniya, Sri Lanka

• Conducted a theatre workshop with schoolchildren in Anuradhapura (2021)

Awards/ Creative Works/ Performances:

Awards:

• The National Theatre Festival, The Crucible (Maya Bandhana) (2018), Merits award for the character of “Tituba”.
• The National Theatre Festival, The Crucible (Maya Bandhana) (2018), The best production of the year (My Character is Tituba).
• The National Theatre Festival, “Mr. W හෙවත් අත්තනායකගේ අවසන් දවස්” (2018), The best production of the year (My Character is the Music Teacher).
• National Youth Drama Festival, The Crucible (Maya Bandhana) (2017), Merits award for the character of “Tituba”.
• National Youth Drama Festival, The Crucible (Maya Bandhana) (2017), The best production of the year (My Character is Tituba).
• Social Mobilization Foundation annual drama competition, “එළොව ගිහිං වරෙන්” directed by me (2010), The best actress (My Character is Mahella).

Video Based Performance:

Other Educational Qualifications:

• Certificate in Teaching in Higher Education (CTHE) course (2024-2025)
  • Staff Development Center, University of the Visual and Performing Arts, Colombo 07
• Diploma in Drama and Theatre (2019)
  • National Youth Services Council, Maharagama, Sri Lanka.
• Diploma in English (2019)
  • National Youth Services Council, Maharagama, Sri Lanka.
• Tai Chi for Arthritis and fall prevention instructor/ leader’s course (2024)
  • Paul Lam, Tai Chi for Health Institute.
• The Second Annual Sri Lanka Summer School in De-colonial Thought 2021: “Decolonizing the Body” (04-08/ 2021)
  • Goldsmiths College and University of London, Eastern University of Sri Lanka & Law and Society Trust, Colombo.
• “Youth, Media and Gen Z” A Three-Day International Workshop (Online) (2021)
  • Christ (Deemed To Be University) Bangalore, India
• Summer School In De-Colonial Thought 2019: “Decolonizing Representation” (08/ 2019)
  • Goldsmiths College and University of London, Eastern University of Sri Lanka & Law and Society Trust, Colombo.
• Research in Visual and Performing Arts (2019)
  • Faculty of Graduate Studies, University of the Visual & Performing Arts, Colombo, Sri Lanka.
• Certificate Course in Jacque Derrida, Reading “Ousia and Gramme” Notes on a Note from Being and Time. ( 2018)
  • Theertha School of Arts of the Theertha International Artists’ Collective, Colombo, Sri Lanka.
• English I Beginners (ELTU 13012), English II Pre-intermediate (ELTU 23012), English III Intermediate (ELTU 33012) and English IV Advanced Courses (ELTU 43012) (2015-2019)
  • The English Language Teaching Unit, UVPA
• Advanced Practical Course on Drama & Theatre Art (2013)
  • Academy of Performing Arts and Drama & Theatre Art, Piyawara Higher Education Institute, Embilipitiya.

Other Writing:

Magazine Articles:

• Darshika, C. (2022). ආසියානු සම්භාව්ය/ ජන ප්‍රසංගයන් හි නිරූපිත ස්ත්‍රිය හා ඇයගේ නියෝජනය Published in Drama magazine March – April, second edition.
• Darshika, C. (2021). සුසුකි නළු පුහුණු ක්‍රමවේදය පිළිබඳ ව හැඳින්වීමක් Published in Drama magazine January– February, second edition.
• Darshika, C. (2021). අභූතරූපී නාට්ය ඔස්සේ නිළිය/ නළුවා පිළිබඳව හැඳින්වීමක් Published in Drama magazine July – August, second edition.
• Darshika, C. (2020). ගෝලීය වසංගතය හා රූපණ ශිල්පිනිය Published in Drama magazine November-December, second edition.
• Darshika, C. (2020). කාලගෝලගේ දේහමය දේශපාලනය තේරුම් ගැනීම Published in Drama magazine September-October, second edition.
• Darshika, C. (2020). පොදු මානව විමුක්තිය තුළ ස්ත්‍රිය නියෝජනය නොවන්නේ ඇයි? Published in Drama magazine July – August, second edition.

Blog Writing:

www.chamaneethoughts.blogspot.com

• Darshika, C., 2025, “Difficulty” is a cultural script – ‘අභිවහනයක් ලෙස සලකා’ අධ්‍යනය කිරීම, https://chamaneethoughts.blogspot.com/2025/09/difficulty-is-cultural-script.html
• Darshika, C., 2025, බයිලා ගහන දවසක්, https://chamaneethoughts.blogspot.com/2025/09/blog-post.html
• Darshika, C., 2020, ගෙවී යන කම්කරු දිනය වෙනුවෙන්…, https://chamaneethoughts.blogspot.com/2020/05/blog-post.html
• Darshika, C., 2020, හෙන්රි ජයසේනගේ ‘කුවේණී’ – ස්ත්‍රීවාදී කියවීමක් https://wp.me/p86CYq-15Z.
• Darshika, C., 2020, සමාජීයත්වය යනු බැහැර කිරීමට එරෙහිව කරන අරගලයයි. https://wp.me/p86CYq-165.
• Darshika, C., 2020, ගෝලීය වසංගතය අභිමුව කලාකරුවා https://chamaneethoughts.blogspot.com/2020/05/blog-post_84.html.
• Darshika, C., 2020, තමාට තමාවම දෘෂ්‍යයමාන කරවන බ්‍රෙෂ්ටියානු නාට්‍යය කලාව. https://chamaneethoughts.blogspot.com/2020/05/blog-post_19.html.
• Darshika, C., 2019, සංචාරක කෝකිලාව-කියවීමක්, Bava. https://wp.me/p86CYq-.
• Darshika, C., 2018, සිය දිවි නසාගැනීම දාර්ශනික ප්‍රශ්නයක් ලෙස, (based on the film The Seventh Continent). Bava. https://wp.me/p86CYq-10W.

Languages:

• Fluent in English
• Fluent in Sinhala