Flight of the ‘Hamsam’
V. KALADHARAN
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Oyyur Kochugovinda Pillai identified his space in Kathakali and chose to excel in certain roles. His best known role was that of the swan in ‘Nalacharitham.’
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Grace personified: Oyyur Kochugovinda Pillai.
The nonagenarian Oyyur Kochugovinda Pillai was never loud in his roles in Kathakali. He was quite confident of himself, but at the same time modesty personified. With his demise, Kathakali has lost one of its most original practitioners.
Formative years
Born in Oyyur village in Kottarakkara, Kochugovinda Pillai was initiated into Kathakali at the age of nine. After learning the basics from Chathannoor Velu Pillai, he came under the tutelage of renowned thespians like Chennithala Kochukunju Panickar, Kurichi Kunjan Panickar and Muthala Kesava Pillai. His maiden performance was at the age of 10. For about four decades from 1955, Oyyur was an inevitable presence in all the major Kathakali recitals held as part of temple festivals and cultural events, especially in south Kerala. Of all his gurus, it was Kurichi Kunjan Panickar who had had a decisive influence on Kochugovinda Pillai. Panickar was synonymous with ‘Hamsam’ (the golden swan) in Unnai Warrier’s play ‘Nalacharitam.’ Oyyur took over the role from his guru in course of time and immortalised it in the minds of Kathakali rasikas.
Hamsam is a differently conceived character in ‘Nalacharitam.’ It is a mythical golden swan that mediates between the lovelorn king Nala of Nishadha and princess Damayanthi of Vidarbha. The role provides a great deal of scope for realistic acting and dancing. Yet, the challenge is to correlate stylisation and realism. A dull performer or an over enthusiastic actor could damage the grace and charm of the character. Herein lay the prowess of Kochugovinda Pillai. His Hamsam struck a balance between Natyadharmi and Lokadharmi. The suggestive movements and eye-expressions, laced with a touch of humour, with which he explores the innermost sentiments of Nala and Damayanthi, were a visual feast to the viewers.
Apart from Hamsam, Oyyur enacted many a ‘pacha’ and ‘minukku’ character. He lacked the flamboyance of some of his colleagues. But his roles of Krishna, Kacha, Rukmangada and Karna had a dignity and restraint that was unique to him. Especially praiseworthy was Oyyur’s enactment of Karna in ‘Karnasapadham.’ His expressions in the scene that deals with the encounter between Karna and Kunthi were neither melodramatic nor explosive. Instead, his presentation was evocative and profound. The powerful anti-heroes in Kathakali were eons away from Oyyur’s personality and nature and he could not, therefore, provide an individual stamp to such roles.
Calm demeanour
Oyyur was never enamoured of power and positions. He had precisely identified his space on Kathakali stage. Self-realization made him a contented man throughout his life. Kerala State Kathakali Award, the Central and State Sangeet Natak Akademi Awards and the Kerala Kalamandalam Fellowships were some of the major recognitions that were bestowed on him. Nearly a decade ago, Kochugovinda Pillai had bid adieu to the stage sans sound and fury. With his passing, Kathakali has lost, perhaps, the most graceful depiction of Unnai Warrier’s ‘golden swan.’ Oyyur’s lineage still continues in Kathakali through his son, Kalamandalam Ratheesan.
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