Life simplified
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Sooryana Kudure seeks answers to the question of where we really derive life’s learning from
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Photo: Murali Kumar K.
ALL THE WORLD’S A UNIVERSITY What can it teach me?
Theoretical postulations, revolutionary ideas, whether the formulation of it or subscribing to it, have always offered a challenge and treat to the intellect. Yet, is it possible to live life through merely incorporating theories learnt through texts? Can the complexities of living be simplified or disentangled through book learning?
“Sooryana Kudure”, a short story by U.R. Ananthamurthy, set in a village in Malnad, answers these questions and acts as an eye opener. The story, which has been adapted into the frame of theatre by Janamanadaata, Heggodu, directed by M. Ganesh, was performed recently. The performance had a strong flavour of Yakshagana in it.
The unfolding of theses and anti-theses, in the course of the discourse between the two principal characters Ananthu, the university wit (who to an extent resembles the character ‘Bazarov’ in Ivan S. Turgenev’s novel “Fathers and Sons”), and Hade Venkata, a man of little book learning but one with amazing native wisdom, was interesting and effective.
Venkata’s unperturbed manner of viewing the vicissitudes of life, rejoicing over little things around him, countered the argument of his friend, enlightening him about life that is beyond the explanation of certain learnt theories. When he massages oil on Ananthu’s head, it appears as though his intellectual arrogance of considering his stand as the only truth, is being washed away by Venkata. Probably, this image could also be understood as the process of pulling the intellectual down to the roots.
The acting, body language and movements of Venkata were precise, rhythmic and heightened the force of his dialogues. Though Ananthu’s performance was good, it could have been better. The performance of the character of Venkata’s son Subbu, a frustrated young man who seeks more out of life, but fails in attaining his dreams, was fair enough. The acting of Venkata’s wife was powerful though his daughter Ganga’s was sans energy and the body language too rigid.
The production, which had elements of humour, gave a peep into something more than what appeared at the outset as mere comic relief.
Music by Arun Kumar M. had a good flow, and the rhythmic beats of the chande gave the play a good pace. The sets were appropriate and held a mirror to the work of the stage machinist.
BHUMIKA RAJAN
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