Disciplined portrayal
HARIPRIYA NAMBUDIRI
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‘Kalakeyavadhom’ stands out for its structured choreography and attention to detail.
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Chivalrous hero: Kalamandalam Soman as Arjuna.
‘Kalakeyavadhom,’ which was staged recently in Thichur Irani temple, is considered to be the most structured of the four stories written by Kottayathu Thampuran. Although the actual storyline is short, it takes about three hours to enact it on stage due to the stringent methodology of enacting and its attention to detail. There are many sequences in the play that gives artistes an opportunity to demonstrate their talent.
The first scene shows an impatient Indra ordering Mathali to bring Arjuna to him. Mathali prepares for his journey. The padam ‘Bhavatheeya niyogam njan,’ a classic, was performed by Sadanam Bhasi. The artiste enhanced the flavour of the padam with his unerring cholliyattom and stage presence. The padam is followed by a typical Kathakali item called ‘theru kootti kettal’ (putting the chariot together).
Unusual sequence
In the following scene, Arjuna is presented to the audience in his pomp and glory, using alavattom and melkatti to depict his success and pride. This is probably the only pacha vesham in Kathakali to be presented thus. Mathali meets Arjuna and showers him with praise. Arjuna responds to this with the famous padam ‘Salajjoham’ set to raga Sankarabharanam. In all the padams of this story, it is the technical finesse of the choreography that takes precedence over the content of the story or the songs, and ‘Salajjoham’ is a perfect example.
After meeting Indra, Arjuna seeks his blessing and proceeds to meet Indrani. This is where the dance of ecstasy in Kathakali called Ashtakalasam happens. This is the only story in which this kalasam is prescribed according to Kalluvazhi chitta. Arjuna then explores the heaven and describes the wondrous scenes there.
As he takes in the sights, he is rudely jolted by the cries of celestial beings being attacked and he decides to fight the enemy.
Arjuna was enacted by Kalamandalam Soman, who has already established himself in Chuvanna Thadi and Kathi roles. He has proved his capability in handling disciplined characters such as Arjuna in ‘Kalakeyavadhom’ by a strict adherence to method. A balance was maintained between technique, facial expressions and fine body movements. Nedumpalli Rammohan and Sadanam Sivadasan provided vocal support. Percussion by Sadanam Ramakrishnan on the chenda and Kalamandalam Hariharan on the maddalam added strength and depth to the recital.
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