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Linking a Puranic tale with modern values
AS IN other dance forms like Kuchupudi, Krishnaleela is not much explored in Kathakali. Dr. P Venugopal in his new `attakatha' `Krishnaleela' offers not just a story telling or linear narrative, but has tried to capture the dramatic highpoints blending it with the possibilities of Kathakali. The show was organised by Ernakulam Kathakali Club at the Ernakulathappan Hall.
Krishna, as the supreme Lord, can see into the futility of human relationships, but in his humane form he is much tormented with guilt when he meets Devaki after killing Kamsa and winning at Mathura. The guilt is because he had not been able to discharge the duties of a son to his parents. The episode fully adheres to the Bhagavatha, when Devaki says she can see only Lord Vishnu in her son and asks from him nothing but salvation to her soul. But the story deviates from the original text when Krishna brings Yasoda to meet Devaki. Acknowledging that Balarama and Krishna were the sons of Devaki, Yasoda affirms the right of Devaki as their natural mother. She says that it was the result of her `karma' or noble deeds that she was blessed with the opportunity to tend the young Krishna. Devaki's eagerness to listen to the pranks and exploits of child Krishna is aroused. The former recounts to the real mother the childhood `leelas' of Krishna, which Devaki had missed. This meeting of the two mothers forms the main theme of the story.
In a `padam' beginning `Nandakumaraleelakal... ' episodes like Poothanamoksham, Ulookhalabandhanam, the killing of Baka, Akhasura, Govardhanodharanam etc. are narrated in the idiom of `pakarnattom'.
"Padams should be suited for the grammar and arithmetic of cholliyattom, melam and mudra abhinayam. Keeping this in mind `idakalaashams', `irattinrittam' and `panchari padams' are included. The full scope of the ragas is covered to make it a `sangeeta krithi'", says Venugopal on his efforts. The choreography is by Vasu Pisharody and the music is by Babu Namboodiri.
The highpoint of the performance was Kottakkal Sivaraman's `Devaki.' His involvement and sincerity of the portrayal took the artiste to tears. Kalamandalam Shanmukhan and Mukundan donned the roles of Yasoda and Krishna.
The story closes with Yasoda coming to terms with her fate, and leaving Krishna with Devaki. As many critics opined, the pulse of this venture was Krishna's dharma as a son to his mothers and this was certainly an attempt to link a Puranic tale to contemporary values.
HAREESH BAL
Photos by Johney Thomas
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