This article provides a contextual analysis of Janakaraliya (‘Theatre of the People’), a theatre company acclaimed for its excellence in theatre for social justice and peace building in Sri Lanka. It discusses the governing conditions that enable its practice and evaluates its impact, whether this be the biopower of the state and non-state actors during periods of political violence, donor funding frameworks, or the Janakaraliya archive itself as an actant shaped by donor rationalities. Drawing on a recent research project entitled The Theatre of Reconciliation, the article builds an argument for changing the terms on which the arts in peace building are evaluated, and for a shift in the dominant narrative on Janakaraliya which collapses its sophisticated aesthetics to a binary of Sinhala–Tamil ethnic relations. The logic of this revision would be fuller acknowledgement of the troupe's aesthetic forms and styles as a more robust signifier of the pluralities that constitute Sri Lankan society today and therefore of post-war reconciliation itself.

中文翻译：

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行动者和断层线：斯里兰卡的 Janakaraliya 和和平建设剧院

本文提供了对 Janakaraliya（“人民剧院”）的背景分析，该剧院公司因其在斯里兰卡社会正义与和平建设方面的卓越表现而备受赞誉。它讨论了实现其实践的治理条件并评估了其影响，无论是政治暴力时期国家和非国家行为者的生物权力、捐助者资助框架，还是作为受捐助者理性塑造的行动者的 Janakaraliya 档案本身。借鉴最近一项名为“和解剧院”的研究项目，文章构建了一个论点，以改变评估和平建设艺术的术语，并改变对 Janakaraliya 的主导叙事，将其复杂的美学崩溃为二元论。僧伽罗-泰米尔民族关系。