Replete with melodrama
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The annual Navaratri Yakhsagana staging was well received.
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Yakshagana never fails to appeal to traditional art lovers through the times as long as mythologicals hold sway over the common Indian psyche. The Nidle-Dharmasthala based Mahaganapathi Yakshagana Mandali had its annual Navarathri stage shows at selected venues in the city recently drawing its special section of audience (the city-based Kannadigas-Maharastrians).
Adhering to the customary inaugural at the Shankara Mutt premises, the troupe took a bold step to venture into a regular auditorium (Sundarayya Kala Bhavan) to regale the viewers with its special brand of humour and expertise at treading the oft-beaten track with fresh verve and vigour. To the stranger it may seem a little odd that all the characters look and gesticulate humorously whatever be the situation-like Rama for instance in Kusha-Lava who is supposed to be a virtuous, staid divine human king of Ayodhya going through an emotional turmoil in making certain hard personal choices (banishing Sita on the verdict of a commoner).
The element of melodrama is a predominant ingredient in these Yakshaganas. But here, in this Dakshina Kannada Yakshagana, Rama and Lakshmana look very unconvincing by way of make-up, costume and headgear; to top it, the exaggerated expression and gestures border on the comical. But that is exactly where the nativity and authenticity come into play.
This essentially folk genre was conceived as a street play. The moral overtones are inherent ingredients that get repeated loud and clear in each story.
Themes are as varied as Girija Kalyana, Srinivasa Kalayana, Jambhavathi Kalyana, Indrajittu-Myravana Kalaga and Kusha-Lava; the typical costume is distinct with the character. There is not much of footwork except the mind-blowing digna (swirl on one foot) but whatever be the dance movements- it is based on the tandava style and rightly so as the entire crew is male. Female roles are also played by the more delicate looking youth of the troupe .
Veteran dancer-actor Nidle Govinda Bhat is a talent to reckon with. His imposing personality serves to enhance the roles he chooses to play like Sri Rama, Ishwara (Girija Kalyanam), Hanuman (Indrajithu Mairaavana) and Brighu (Srinivasa Kalyanam). The others on stage P. Lakshminarayana Bhat, Padmanabha (who does the digna beautifully), Shiva Prasad, Radhakrishna, Kumble Sridhar Rao, Mahesh, Mohana, Subbaraya Holla, Sadasiva Kumar, along with the Bhagavath S. Ramakrishna Mayya (vocal) have cultured voices and a reach that can surpass the best stereo systems. Movements of the artistes are to be seen to be believed. The orchestra (Himmela) comprises only of the percussion (chende and mridangam) both of which are beat with a rhythmic gusto. The colour scheme and the usage of natural dyes in make-up are rich and uphold the ethnic strain in the Karnataka culture.
RANEE KUMAR
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Bangalore
Chennai and Tamil Nadu
Delhi
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Thiruvananthapuram
