Historic recital
G.S. PAUL
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Kapila portrayed Ravana in a Koodiyattom performance.
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RARE fEAT: Kapila in the role of Ravana in `Asokavanikangam.' Photo: K.K. Najeeb
In a performance that can be termed daring in the choice of subject, Kapila staged Ravana of `Asokavanikangam' at the Natyagriham of Kerala Sangeetha Nataka Akademi. The announcement of the performance by Natankairali a couple of weeks ago raised several eyebrows since it was unprecedented in the history of the Sanskrit theatre.
The occasion was the release of G.Venu's book `Kathakali, Koodiyattom and other Performing Arts' by the Speaker Therambil Ramakrishnan.
Progressive gesture
From the days of its genesis, Koodiyattom has allowed women to portray female roles. This progressive gesture of the Chakiyars has been hailed by all quarters.
Especially when compared to Kathakali, a dance drama of relatively recent origin, that proscribes women in any role on the stage traditionally. And `pakarnattam' is the unique technique of Koodiyattom that enables one to enact multiple roles. However, very rarely does an actress get a chance to elaborately portray male roles.
`Asokavanikangam' is the fifth act of Sakthibhadra's play `Ascharyachoodamani.' Of the myriad Aattaprakarams (acting manuals) of Koodiyattom plays, that of `Asokavanikangam' stands out for its exhaustiveness. Innumerable feats such as `Kailasodharanam,' `Parvathy viraham,' and `Panadrumam' enable one to comprehend the subtleties of abhinaya peculiar to Koodiyattom. Small wonder then that the play could be staged only four times during the last century during which there was a resurgence of Koodiyattom.
Explains G.Venu, "It is not our intention to ascribe male roles to women; but we realise that a practice of these variegated roles can equip the artistes irrespective of their gender to meet the challenges of abhinaya with more confidence."
Kapila's purappad of Ravana began with the introductory sloka, `Chinthaamanthara chinthaneeya.' Thoughts about Sita continue to haunt him. He even mistakes the moon for the sun and further is surprised to see how the sun, whom he had ordered out of his country many years ago, was bold enough to stage a come back. (Here the circumstances that lead to the ousting of the sun are fully enacted).
However, good sense prevails over Ravana as he advances to finish the sun with his sword. He counsels with his minister Amathya Chitrayodhi.
As he looks in the sky again, he realises that it was a case of mistaken identity.
Kapila's abhinaya, especially netrabhinaya, which delineated the hot rays of the sun and the effect it produced on the onlooker, was enthralling.
Ravana presented by her appeared in all his majesty. A keen sense of space was discernible throughout the performance. One could get a glimpse of Ravana's tall constitution from the eyes of Varshavaran, the attendant. Kalamandalam Rajiv and Kalamandalam Hariharanaccompanied on the mizhavu and Kalamandalam Hariharan on the edakka.
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