All about the poetry of acting
K. PRADEEP
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Murali, who won the State award for his book `Abhinethavum Asan Kavithayum,' talks about the ties that bind cinema, drama and literature.
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Initially, `Lanka Lakshmi' was a play involving 25 artistes on stage. Mine is a solo show for which I had to change the whole structure of the text.MURALI
EXPLORING NEW REALMS OF THEATRE AND LITERATURE: Murali. Photo: C. Ratheesh Kumar
For Murali writing has always been a powerful, creative outlet. An offshoot of a voracious reading habit, it was one way of taking his mind away from the pressures of life. There has been a definitive approach in these activities. He read to overcome his failings, his weaknesses as an actor. He wrote about his experiences as an actor, or what he gleaned from his reading.
The recent State award for his book `Abhinethavum Asan Kavithayum,' has certainly been a notable recognition of his endeavours, but for Murali the priority has always been acting. He always believed that reading should occupy a very significant place in the life of an actor. "Drama, literature, books related to acting, poems, novels, I keep reading them all. Then there is the other side. My political affiliation and my reading related to that. All this has helped me immensely in my journey to attain perfection as an actor," Murali asserts.
New book
He is now working on a new book that will be a "comprehensive study" on the theory and practice of theatre. "This will be on different approaches to theatre, picking essentials from masters like Stanislavsky, Michael Chekov and others till Peter Brooke."
This journey that saw him flitting easily from theatre to the screen was neither sudden nor easy. Murali always knew that he was destined to be an actor. Even before he stood on the stage for the first time as a schoolboy, he knew that acting was his vocation. From then on this became his life's mission.
A theatre camp organised by the Writers' Forum in Thiruvananthapuram helped him reach hitherto unknown realms of acting. He became aware of the need for thorough homework, physical work and mental preparation. The inherent talent was being firmly moulded.
"I was fortunate to interact with so many eminent writers and theatre personalities during my fledgling days. Reading, which provided an added thrust or different dimension to my acting, turned into a passion. Biographies and autobiographies provide a number of images that have always been a great source of energy. Among those eminent people that I came into contact during those days was Narendra Prasad. It was he who veered me into serious theatre. For someone like me who knew very little about theatre and acting, Narendra Prasad was an inspiration. His theatre a revelation."
Murali is the chairman of Narendra Prasad Foundation that, like most new organisations, finds the going rather tough. "Like most organisations we face a big financial crunch. It is just early days for us and so we have not chalked out very ambitious plans. For the time being we intend to remember Narendra Prasad on his death anniversary every year. This time we plan to pay tribute to him by holding talks and discussions aimed at projecting the four dimensions of Narendra Prasad. Prominent personalities will talk about Narendra Prasad as critic, playwright, director and actor. This will be followed by the staging of my `Lanka Lakshmi'."
Incidentally, it was Narendra Prasad who originally directed this classic play by C. N. Sreekantan Nair. "Initially, Lanka Lakshmi was a play involving 25 artistes on stage. Mine is a solo show for which I had to change the whole structure of the text."
When Murali embarked to bring Ravana to life through this play, many an eyebrow was raised. They were sceptical of his ability to carry off that one-man show, for he was well-known by then for his rough, masculine, tough roles in films. But his portrayal of the character and his psychological interpretation won praise. "Perhaps the most precious compliment was from Narendra Prasad who was there to see the first performance. He said that his journey in theatre had reached a fruitful culmination with this performance."
Murali is now working on a new play based on the character and story of Karna. "The script is ready. It is actually based on a work `Mrityunjaya,' The Death Conqueror: The Story of Karna by Sivaji Sawant, a dramatic poem by Rabindranath Tagore from his collection `Kahini' and `Karnasapatham Kathakali.' Since you cannot set deadlines for this process I cannot say when I'll be ready to stage it."
Engrossed in these creative pursuits, films are now not a priority for this versatile actor. As one who has completed 25 years in Malayalam films, an occasion that surprisingly went largely unnoticed in a world where glamour and glitz hold sway, Murali firmly believes that being in films for so long was a sort of accident.
"As an actor I have completed over 42 years, since my first play was at the age of nine. Films did give me a lot of popularity, financial backing, but somewhere down the line I have begun to feel a bit disillusioned with Malayalam films."
Murali is now more often seen in powerful character roles in Tamil films. "Conditions are much better there. At least the roles that I'm being offered have much more substance than what I sometimes get here. It has also helped me learn so much more about my own language, its roots."
National award
One role that Murali holds close to his heart is that of the award-winning Appa Mesthri in `Neythukaran.' "That is because it brought me national recognition, but more because, for me, it was not merely a character. The political context, history, events, all made me very involved in it. The Vimochana Samaram, the split in the Communist Party, were events that I had debated within myself, affecting me personally. So the emotional output of that role was different."
Another different role that Murali made memorable with that typical ease was Lance Naik Mukundan Menon in `Chakoram.' Despite his tough exterior and deep voice, Murali proved that he was game for humour too. But he was never cast in that mould again. "That is how commercial films work. It is not because of my looks or voice. After all there were so many roles, like in `Garshom,' which were subdued. It is not all that. There are so many other reasons... ." Murali breaks off with a laugh.
TOP TEN CHARACTERS
1. Baputty (`Aadharam')
2. Kochu Raman (`Amaram')
3. Comrade DK (`Lal Salaam')
4. Mukundan Menon (`Chakoram')
5. Appa Meisthri (`Neythukaran')
6. Sankaranunni (`Thaalolam')
7. Nasiruddin (`Garshom')
8. Dasan (`Kaanakinavu')
9. Gopalan (`Venkalam')
10. Rajan (`Panchagni')
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