`Oedipus' revisited
Chandradasan
|
Cochin Theatre Group's enactment of `Oedipus' highlighted the relevance of this play.
|
The highlight of the play is a reflection on how transient human happiness often is.
GREEK CLASSIC: A scene from `Oedipus,' which was staged by Cochin Theatre Group.
Cochin Theatre Group staged the play `Oedipus' at Kerala Fine Arts Society Hall, Ernakulam, to a full house. The play, directed by T.M. Abraham, was based on the translation of C.J. Thomas in Malayalam.
The story of the play is simple. Unknowingly, Oedipus kills his father, King Laius of Thebes, and marries his mother, Jocasta. When he learns the truth, he blinds himself in despair.
Of fate and ambition
But the play, written by Sophocles (between BC 429-425), based on a folk tale, is much more complex and works on the depths of human passions, ambitions, fate and irony of life. The riddles that seem to be solved reappear again and again.
This play has been interpreted at many levels, and the essence of the tragic flaw in Oedipus has been explained in very different ways.
This simple but radical play, about human passions and struggles, is already so overburdened with explanations and interpretations, readings and re-readings that it was interesting to see the same play in a new light.
T.M. Abraham said: "I have approached this play with a straight mind. I was interested in narrating the story of Oedipus and Jocasta, than interpreting it."
And the production was simple and direct, as a folk tale. The chorus that is the most important presence in any Greek play had a very minimal presence in this production. They had few lines, minimal movements and gestures and moved unassumingly to a corner of the stage or behind the level of the sets.
The play was about the tragedy of Oedipus and Jocasta, the "ungodly pride" (hubris) or "tragic flaw" (hamartia).
The highlight of the play is a reflection on how transient human happiness often is: "Don't say anybody is fortunate until that person is dead - the final rest, free from pain."
This line from the last song of the chorus has been given to Oedipus in this production; hinting at the director's emphasis on the central character and the tragic fall.
The stage design, with the thrust on audience space (which was used effectively and dramatically for many entrances and exits) to create a link with the spectator, worked. But this lucidity was absent in the kinesics and enactment of Oedipus. Gopalakrishnan donned the role of Oedipus.
The portrayal of the blind seer, Tiresias, by Cumi Shanavas also fell short of expectations. He depicted the blind seer and failed to assimilate his ability to `see' visions from the past and the future.
On the other hand, Sujatha as Jocasta but succeeded in depicting the fate and mindset of Jocasta. The conflicts, which were not much emphasised through words in the text of the play, were seen on her face.
The most focussed of all the actors was John Bosco who enacted the messenger from Corinth very convincingly.
It is clear that Greek tragedies remain popular, not as museum pieces, but as comments on life. They are connected with the base and primitive affinities of man that is very earthy, and at the same time as reflective as water - the two elements used in the design of the play as visual metaphors.
Overall, this rare production of Oedipus was technically smooth and gave ample space for reflecting and revisiting the eternal classic.
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
