Revival of a tradition
G.S. PAUL
|
Mantrankam Koothu, which was staged after nine years in Thrissur, signifies the resurgence of Sanskrit theatre.
|
PHOTO: K.K. NAJEEB
EPIC STORIES: Mantrankam is considered a touchstone of the verbal prowess of a Chakyar.
Devotees thronged the ancient koothambalam of Peruvanam Mahadeva Kshetram, near Thrissur, for nine days to witness Mantrankam koothu, which was staged after nine years. The koothu, which is singular in many respects, began on the day of `Samkramam' in the Malayalam month of Karkkidakam and concluded with Koodiyattom on Wednesday last.
Based on Act III of Bhasa's `Pratijnayougandharayanam,' Mantrankam is considered a touchstone of the verbal prowess of a Chakyar. The traditional performer hones his skills of vachikabhinaya by practising this koothu.
Myriad are the epic stories that are narrated with vitriolic comments. The stories include the birth of Vyasa, incarnation of Vamana, the Ramayana, burning of Tripura and Draupadi's swayamvara, to mention a few.
Customarily, it extends to 41 days, of which the last two days are devoted to Koodiyattom. The dramatis personae in Mantrankam are Yougandharayana, Vasantaka and Rumanvan, three ministers of King Udayana of Utsa who was taken captive by Mahasena, king of Ujjaini. The plots and intrigues evolved by them in managing the escape of Udayana is the leitmotif of the third act.
Vasantaka, the beggar, disguised as vidushaka, dominates the play and steals the show. The vidushaka in a Mantrankam is unique for his vachika (verbal) and aharya (costumes and make-up). His forehead is smeared with sacred ash; he carries a knapsack and is armed with a staff.
Vasantaka's narratives run to several nights. Spiced by appropriate stories tinged with satire and humour, these narrations keep the audience in splits. Kalamandalam Rama Chakyar, who played Vasantaka, was forced to drop quite a few sub-plots since the performance was reduced to nine days as against the traditional duration of 41 days.
Ingenious narration
Chakyar ingeniously correlated the main story to a concomitant one of his choice so that his wit could soar to dizzying heights. After sneaking into the palace, Vasantaka meets an old woman Arathilamma. The woman ascribes her sullen mood to the incarceration of Udayana. Then the `beggar' tells her the story of Rama who had fought his enemy despite the odds against him. Soon the vidushaka slips into the story of the Ramayana. Thereafter, he anchors his narration to the major episodes of the epic.
The six-hour Koodiyattom performed on the last day had only two characters - Vasantaka and Yougandharayana. The performance brought to the stage Kidangoor Rama Chakyar, sole surviving exponent of Mantrankam who has been trained in the old school. While he chose to don the role of Vasantaka, Kalamandalam Rama Chakyar portrayed Yougandharayana. Kalamandalam Narayanan Nambiar was assisted by Ramachandran Nambiar on the mizhavu. Devi Nangiar and Rupa Nangiar handled the talam.
The revival of Mantrankam at Peruvanam Temple is significant as it signals the resurgence of Sanskrit theatre. The performance in the temple was held in strict accordance with the rituals and rites. The appearance of Kidangoor Rama Chakyar assures the continuity of a near-extinct tradition.
Printer friendly
page
Send this article to Friends by
E-Mail
Friday Review
Bangalore
Chennai and Tamil Nadu
Delhi
Hyderabad
Thiruvananthapuram
