Koodiyattam exponent and trainer Margi Madhu’s two new directorial ventures, introduced on the annual Nepathya Koodiyattam festival in August, stood out as fascinating improvements. They revealed how imaginative touches can enliven a centuries-old artwork type famend for its strict adherence to construction and conference.
Nepathya introduced an elaborate model of Mathavilasa Prahasanam (Dance of a Drunken Sport) — a seventh Century farce, loaded with sarcasm and wit, written by the Kancheepuram-based Pallava king, Mahendra Vikrama — and Atavyankam, the Fourth Act of Bhasa’s Pratima Natakam.
Mathavilasam has been carried out for hundreds of years, however solely at temples as an providing, the place solely two couplets from the unique textual content are used. An extended attaprakaram or actor’s guide was first composed by P.Ok. Narayanan Nambiar within the Nineteen Nineties. The present model, directed by Madhu, expands on this by together with sure components which have been unnoticed and introducing Malayalam for the dialogues of some key Sanskrit and Prakrit-speaking characters.
The plot revolves across the drunken antics of Sathyasoma, a kapali and an unorthodox Saivite mendicant who seeks god by means of begging, dancing and consuming. His companion Devasoma, together with the loss and restoration of their kapalam or skull-bowl, drive the narrative. An inebriated Sathyasoma suspects the Buddhist monk Nagasena of stealing his bowl, however after a heated trade, he discovers it was taken away by a canine. The restoration of the skull-bowl additionally includes Babhrukalpan, a Saivite of the average Pasupata order, and a madman determine.
Though the play is over a thousand years outdated, its values — intolerance, hypocrisy, and the primacy of formality over the religious — stay related.
David Shulman, an Indologist and Sanskrit scholar, says: “The text is witty and full of vitality. The play is interesting because of the way it embodies the early crystallisation of the tradition, and also because of its conceptual and philosophical contents and highly dramatic conclusion. Madhu has made the text come alive and showed us the deeper meanings it offers us.”
Nepathya Sreehari Chakyar as Babhrukalpan in Mathavilasam
| Photo Credit:
T.Ok. Achuthan
These deeper meanings are what Sanskrit scholar, Ok.V. Vasudevan, referred to in a paper introduced on the festival. He prompt that the arguments, although seemingly superficial, will be interpreted in several methods. For occasion, Babhrukalpan within the play will not be a lunatic however a liberated soul. Citing a number of examples, he stated the selection of phrases and characters are all a tool of an clever king to remind his those that the final word goal of the supreme being, symbolised by the kapala, shouldn’t be misplaced whereas being caught-up in mere rituals. And he selected the farce as his automobile in order that the message will get carried to each the intelligentsia and the layman.
“Mathavilasam is a prahasanam or a farce and it naturally deals with everyday lives. To translate that into Koodiyattam and at the same time retain its humour and wit, was not easy,” says Madhu.
Sutradhara’s Nirvahanam or retrospective units out the context of the story utilizing verses from Kalidasa’s Kumarasambhavam. The story, ranging from Shiva’s penance, Kamadeva turning to ashes from his fury, and the killing of demon Taraka was introduced by Madhu in a powerful solo act, lasting over 4 hours.
The scene that introduces Kapali and Devasoma, performed by Madhu and Indu G, was memorable for its drunken dance and dialogues, interspersed with some severe descriptive performing segments.
The final day of the play belonged to Nepathya’s three younger actors. The arguments and the short ripostes between kapali (performed by Nepathya Yadukrishnan) and the Buddhist monk (performed by Nepathya Rahul Chakyar in Malayalam) had been spirited and pleasing. Though at instances the banter did slip into slapstick, it was Babhrukalpan (performed by Nepathya Sreehari Chakyar) who stole the present in a short however highly effective efficiency.
Rama (Rahul Chakyar) flanked by Lakshmana (Nepathya Yadukrishnan) and Margi Madhu (Bharata) in Atavyankam
| Photo Credit:
T.Ok. Achuthan
Emotional Bharata
The festival was again to the acquainted territory of the Ramayana for the second play, introduced over three days. The gist of Act 4 of Bhasa’s Pratimanatakam, which has not been carried out in no less than 300 years, was Bharata’s emotional encounter with Rama, Lakshmana and Sita within the forest. What stood out right here was ‘Paduka Pattabhisheka’.
‘Paduka Pattabhisheka’ in Atavyankam
| Photo Credit:
T.Ok. Achuthan
Madhu says an outdated kramadeepika (efficiency guide) prescribes an precise temple priest to conduct the ritual. To be certain that the ceremony merges seamlessly into the drama, Madhu invited newbie Kathakali artist and knowledgeable priest, Hari Nelliyode, to be the priest within the play. That created the proper stage impact and the ritual, mixed with the theatrical, made for an unforgettable scene.
