Impressive display of talent
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A Koodiyattom festival proved the talent, dedication and ability of young artistes in preserving the art form for posterity.
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The artists aesthetic performance enchanted the audidence.
THE 18th Koodiyattom festival hosted by Ammannur Gurukulam at Natanakairali in Irinjalakuda demonstrated the talent of young artistes who proved that they were capable of preserving this art form without compromising on tradition and value.
The 12-day festival was inaugurated by Madhavachakyar. The festival began with Kapila's Nangiarkoothu that was based on the first sloka of `Soundaryalahari.' `Jataayuvadham,' which forms the fourth act of Sakthibhadra's `Aascharyachoodamani,' was enacted over the next six days. `Purappad' was by Harikrishnan, four-day `Nirvahanam' by Kuttan Chakyar, Sooraj Nambiar and Rajaneesh, and Ranjith depicted Ravana in the role of Mayarama. It came to a close with a Koodiyattom recital. `Kaliyamardhanam,' `Akrooragamanam,' and `Rasakreeda,' all of which are a part of Sreekrishnacharitham Nangiarkoothu was presented by Tomeo, Aparna Nangiar and Usha Nangiar respectively.The structure of `Rasakreeda' resembles Jayadeva's `Gitagovindam.' `Mayasiras,' Kalidasas's `Shakuntalam' and `Vikramorvaseeyam' were the other plays performed.
Histrionic talents
Certain scenes remain etched in the minds of viewers because of its aesthetic aspects. Some of them - the visualisation of the beauty of Sita by Ravana, enacted through articulate eye movements by veteran Kuttan Chakyar and the depiction of `Rasakreeda' by Usha Nangiar were an eloquent display of their talent. The skilful presentation of `Kailasodharanam' and `Parvathiviraham' by Rajaneesh and his eloquent depiction of the encounter between Ravana and Airavatham was yet another memorable scene. Kapila competently portrayed Urvashi and the grief stricken Shakuntala. The death of Jataayu was ably enacted by Sooraj and his roles as Samarabheeru, Dushyantha and Pururavas was praiseworthy.
Techniques
The use of techniques such as `Moodichollal,' `Nepathyam,' and the use of unrefined language (to make the portrayal as close as possible as it is in the original text of `Vikramorvaseeyam') by female characters were commendable. The mizhavu accompanists Rajeev, Hariharan, Narayanan Nambiar and Ravikumar did a good job. Unnikrishnan and Nandakumar played the edakka competently.
Students of classical arts should emulate these performers who left no stone unturned on their way to attain perfection.
SANGAMESWARAN A
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