An innovative attempt
T.K. Sadasivan
|
`Thullal Thrayam,' which was staged in Ernakulam, innovatively blended three kinds of Thullal.
|
CONFLUENCE: Combination of Ottanthullal, Seethanganthullal and Parayanthullal.
`Thullal Thrayam' presented by Kalamandalam Prabhakaran and organised by BEAME (Bank Employees' Art Movement, Ernakulam) captivated spectators. It blended three classical thullal forms to narrate the story of `Kalyanasaugandhikam.'
`Thullal Thrayam,' an innovative experiment combining three traditional art forms was a unique and fruitful attempt. Brilliantly choreographed, `Thullal Thrayam' strictly adhered to the principles of Natyasastra. `Thullal Thrayam' combined three classical thullal art forms - Ottanthullal, Seethanganthullal and Parayanthullal.
Visual satire
Conceived by Kunchan Nambiar, Thullal is a visual presentation of satire. It is said that Kunchan Nambiar created thullal to avenge an insult he was subjected to when he was caught napping while playing the mizhavu for a Koothu performance. The very next night, Nambiar is said to have come up with Seethaganthullal, a new art form that attracted Koothu spectators.
Apart from Seethanganthullal, Nambiar also introduced Ottanthullal and Parayanthullal. While Seethaganthullal is relatively slow in tempo, Parayanthullal is the slowest and looks more refined. The dancer mostly moves only the right leg in Parayanthullal. But it is Ottanthullal, which gained popularity with its simplicity and humour.
Seethanganthullal, Ottanthullal and Parayanthullal are solo dances accompanied by vocal support and percussion. There are significant differences in the costumes also. While tender coconut fronds are used in Seethanganthullal, the other two does not use them at all. These art forms are adaptable for innovative attempts as their techniques are not rigid.
`Thullal thrayam' told the popular tale `Kalyanasaugadhikam.'
`Kalyanasaugandhikam'
Incidentally, it is the story Kunchan Nambiar first wrote for the maiden Seethanganthullal performance. Seethanganthullal, Ottanthullal, and Parayanthullal artistes presented the three prominent characters of the story, Hanuman, Bheema and Panchali respectively.
Apart from these characters, the suthradharan (protagonist) and krodhavamsan were also portrayed by the Seethanganthullal artiste, Kalamandalam Prabhakaran. After the Ganesha vandana and Parameswara vandana, the protagonist, who was in the colourful costume of Seethangan, introduced the story.
The story was enacted as in Seethanganthullal,wherein the characters like Bheema and Panchali, who were attired in the costume of Ottanthullal and Parayanthullal, followed their own conventional style.
Kalamandalam Prabhakaran, a senior thullal artiste and a winner of several awards, was at his best as Hanuman. With imaginative gestures, he portrayed a naughty and vibrant Hanuman and his transformation into an old and frail monkey.
The Ottanthullal artiste, Praveen, essayed Bheema, and the Parayanthullal artiste, Praveena, did a good job as Panchali. All the artistes brought out the distinctive features of their art forms while enacting the story.
Vocals were by Ayamkudi Thankappan Nair, and the percussionists were Kalamandalam Sasikumar on the mridangam and Ayamkudi Thankappa Kurup on the edakka.`Thullal Thrayam' was choreographed under C.P. Unnikrishnan's guidance .
Printer friendly
page
Send this article to Friends by
E-Mail
Entertainment
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
