Rich stage presentation
K. PRADEEP
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Koodiyattom ‘Abhishekankam,’ which was staged by Ammannur Chachu Chakyar Smaraka Gurukulam, is the seventh and final act of Bhasa’s ‘Abhisheka Nataka.’
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High drama: The denouement of ‘Abhishekankam’ is the ‘pattabhishekam.’ The play was directed by Ammannur Kuttan Chakyar.
The majority of plays in the Koodiyattom repertoire are from Bhasa. Most of his plays are, however, lost. This was, perhaps, what prompted Ammannur Chachu Chakyar Smaraka Gurukulam, Irinjalakuda, to work on a project to revive all those plays.
Their production of ‘Abhishekankam,’ the seventh and final act of Bhasa’s ‘Abhisheka Nataka,’ which was presented under the aegis of the International Centre for Koodiyattam at Kalikota Palace, Thripunithura, stood out for its potential as a stage presentation.
Ammannur Kuttan Chakyar, who directed the play and scripted the ‘attaprakaram’ from the production manuals, has ingeniously incorporated two dramatic situations. These sequences offer ample opportunities for actors to improvise. In fact, it is these two sequences, with two interesting characters, Ascharya Lakshmana and Agni, in their unique ‘aaharya,’ that stand out in this play.
The play opens with the entry of Rama. There is a detailed elaboration, based on a sloka, which details the events leading to the war in Lanka, culminating in the death of Ravana.
The technique used here is that of Nirvahanam, though not in the strict sense of the term. It is used here as a dramatic technique that helps an actor enact the past episodes. Vibhishanan, who is crowned king of Lanka, makes efforts to bring Rama and Lakshmana to meet Sita.
Rama does not approve of this and insists that Sita go through a trial by fire to prove her ‘purity.’ He sends Lakshmana to pass on these instructions. The occasional exchange of dialogues makes all these sequences very dramatic. There is a brief scene in which Hanuman, unaware of Rama’s decision, expresses his happiness at the successful turn of events. When Lakshmana informs him of Rama’s instructions, Hanuman tells him to abide by his brother’s advice.
Trial by fire
Then follows the scene in which the character Ascharya Lakshmana expresses his amazement when he sees Sita coming unscathed through the ‘Agnipareeksha.’ Lakshmana, who after swinging between loyalty to his brother and respect for Sita, is wonderstruck.
Using the technique of Pakaranattam, Lakshmana enacts how Sita, nonchalantly, like a swan gliding through lotus flowers, walks through the fire. Overcome with joy, he rushes to inform Rama.
Entry of Agni
The stage is now set for the entry of Agni. The character of Agni is well defined. There is a particular part in this scene where Agni, who recognising Rama as an ‘avathara,’ gets into a detailed exposition of the Dasavathara.
Ammannur Kuttan Chakyar, who played this role, used all his experience and histrionic skills to present the various incarnations of the Lord leading up to Rama. Then preparations, under Agni’s supervision, are made for the coronation of Rama.
Perhaps the highpoint of the play is the ‘pattabhishekam’ or installation ceremony. All the characters come on stage. Along with the mizhavu there is the music of the kuzhal and the thimila; in the backdrop of the colourful parasol, the alavattom and venchamaram, the installation takes place. It was a perfect denouement to a perfectly structured play. Thereafter, Rama and his entourage leave for Ayodhya.
Ammannur Rajneesh (Rama), Suraj Nambiar (Lakshmanan), Pothiyil Ranjith Chakyar (Vibhishanan), Harikrishnan (Hanuman), and Aparna Nangiar (Sita) played their parts well.
The vibrant percussion back-up provided by Kalamandalam Rajiv, Kalamandalam Hariharan, Kalamandalam Narayanan Nambiar, Kalanilayam Unnikrishnan, Thriprayar Rameshan and Sudhish added life to the play.
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