IN CONVERSATION
Lifelong endeavour
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Kalamandalam Gopi is one of the foremost exponents of an ancient art form. In a chat with K.K. GOPALAKRISHNAN, he opens up about his entry into the world of Kathakali.
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K.K.GOPALAKRISHNAN
One of the greatest exponents of Kathakali, Kalamandalam Gopi, at 66, is the most favoured artiste for heroic characters who display satvika (divine) qualities, distinguished by their pacha (green) faces. His Arjuna in "Santhanagopalam" — with Guru Padmanabhan Nair as the Brahmin shattered by the death of his children — and Bhima in "Kalyanasoughandhigam" — with Guru Ramankutty Nair as Hanuman — have won accolades from connoisseurs. Another celebrated role is Roudra Bheema in "Duryodhanavadham". Whether it is the technically demanding role in stories with set choreography (like the stories of the Kottayam Thampuran) or a character that enjoys more stage freedom (like Nala, Rugmangadan, Karna), the roles that possess greater scope for sringara (erotic), veera (heroic) and karuna (pathetic) get the best from him. Excerpts:
WHAT led you to learn Kathakali? Was it accidental?
Do you think that a small child would have had enough freedom to decide his future — that too, almost six decades ago in a Kerala village? When I was in standard III, I was initiated into Ottanthullal (a semi-classic art form). This was abandoned when the master gave up. I lost both formal schooling and the art. The next year, a patron of my family persuaded my parents to let me be trained in Kathakali under Thekkinkattil Ravunni Nair, the first disciple of Pattikkamthodi Ravunni Menon.
How did you come to the Kerala Kalamandalam?
After a few months, the kalari (Kathakali training centre) run by Thekkinkattil Ravunni Nair was closed and my training ceased. I was again losing both formal schooling and art initiation. The next year I was sent to Kerala Kalamandalam.
How was your training at the Kalamandalam? What was the influence of Guru Kalamandalam Padmanabhan Nair, son and last disciple of Pattikkamthodi Ravunni Menon, in your chollyattam (acting of the librettos), nritta and nritya aspects?
Six years of austere training under Kalamandalam Padmanabhan Nair asan and Ramankutty Nair asan made me what I am today. I am totally indebted to them. Once Padmanabhan asan was training me the acting of the verses tane vannatinal of Keechakan in "Keechakavadham". I failed to perfect the abhinaya of that particular part. Losing his patience, he used his wooden rod (used to keep rhythm) on me. I cursed my fate. That evening he called me and affectionately brought me a lot of eats. I saw the love in his eyes and, since then, I never made a mistake. Even now, when I perform the part, I remember the pain of the punishment and the affectionate face of asan. After my graduation, Vallathol appointed me in the faculty, where I continued until I retired as principal in 1992.
While watching your performance especially in dramatic stories like "Nalacharitam" or "Rugmangadacharitam", some feel that you identify too deeply with the character. Immediately after the performance, your approach and behaviour is very different from your personality and more in tune with the characters you portray.
I am a sensitive person. I am easily upset. My reaction is spontaneous, whether on stage, or in the green room or even in my personal life. Indeed, the mental state of the character that I portray haunts me even after a performance. The intensity depends on several factors — from the perfection of accompanying actors, musicians to audience in front rows. My approach toward my art is from the heart and the stress is on its aesthetics.
Earlier you used to accept around 20-25 programmes a month. These days, you have reduced it to 12-15. How do you maintain your health?
The hectic schedule was affecting my health badly. I will be 67 soon. Now I am very selective about programming, avoiding cross-travels and continuous sleepless nights. The quality of foot massage during my student days and the periodical ayurvedic treatment during monsoon and the care by my family play a crucial role in sustaining both my health and stage activities.
Your partnership with Kottakkal Sivaraman (who specialises in feminine roles) is the best performance in the sringara abhinaya of Kathakali. Stories like "Nalacharitam" and "Rugmangadacharitam" are the best examples. Many are surprised that maestros from different institutions groomed both of you. What do you feel about it?
It is a great feeling to perform with Sivaraman in the role of heroine. He is well read and intelligent. His spontaneity always extracts the best from his co-actors, if they are creative. On stage, we are aware of what the other person is going to do. This helps us greatly in manodharma abhinaya (power of imagination) and extempore reactions. We do not prepare in advance for manodharma nor for on spot reactions. After Sivaraman, I rate Margi Vijayakumar as the best for lead female roles.
It is very surprising to those unfamiliar with Kathakali that a traditional performance is done without any rehearsals. Is it a great wonder, compared to other performing art traditions?
That is the distinctive tradition and greatness of Kathakali. Our basic training structure and technique is our rehearsal for a lifelong artistic endeavour. The outside world is yet to know of the distinguishing feature of Kathakali tradition.
Though Kathakali is hailed for its aesthetic endurance and known the world over, Kathakali artists are always marginalised in terms of national honours and awards. Is it a national insult to Kathakali? Only last month Guru Keezhpatam Kumaran Nair, the grand old man of Kathakali, was honoured with a Padmashree. What do you think of it?
I am very glad that such a great artiste like Keezhpatam Kumaran Nair was honoured at least with a Padmashree at the age of 80 plus. Better late than never. For an artiste, the place in the audience's heart and in the history of the art form itself is the greatest honour; only genuine calibre and nothing else could buy this.
Both your sons are not Kathakali artistes. Any specific reasons?
I do not want my sons to undergo the trauma that I did. A Kathakali actor's training period and initial artistic life are the toughest, compared with artists of any other forms. There were several moments of frustration in my early life and a few times, I had even thought of committing suicide; once immediate hospitalisation saved my life.
However, personally, if there is a next birth for me, I want to be a Kathakali actor only, Kalamandalam Gopi, and none else.
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