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Metro cultural round-up
A scene from `Sankara vijayam' a pouranic drama. --Photo: C.V. Subrahmanyam
Sahridaya Sahithi organised a talk on the literary works of young and noted writer-poet, Baddi Nageswara Rao, short stories titled `Mooduttaraalu', free and metrical verses, titled `Baddivaari Buddhi Satakam', and the latest `Nivedana'. The sahithi president, L.R. Swamy, who chaired the session, earlier released `Nivedana'. Noted writer-critic and dramatist, Venu, explained how a multitude of subjects, including history, geography, politics and religion, not only attracted the attention of Baddi but also found a touching expression in his pen. He reviewed almost all the 50-odd lyrics contained in `Nivedana' in particular. The session was also attended by members of the Anakapalle Sahitya Vedika, which earlier felicitated Baddi releasing his `Satakam'. T. Pridhviraju, G.Ch. Raju, G. Ranga Babu, Madhavi Sanara and E. Chakrapani of the Anakapalle Vedika participated and recited their own compositions in the literary meet on Haiku poetry organised by Visakha Sahitya Kala Vedika at Sagarnagar later. The chief guest of the evening, the noted musicologist, Manchala Lakshamana Rao, hosted the meeting at his residence. The Anakapalle Vedika's recent publication `Swabhanukiranaalu', a compilation of 62 free, 17 metrical and 13 poems of as many writer-poets (reputed veterans and young and upcoming). It was the second in the series published by it, the first being `Madhuvani' after it was launched in 1997.
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Commemorating the Shashtipurthi of the reputed doyen of the theatre (mostly social), Ayyalasomayajula Gopala Krishna, his disciples, friends and admirers organised the staging of the play `Sankara Vijayam' at Kalabharathi last week. Jointly presented by Natya and Veda Bharatis, it was scripted by the well- known playwright, Viriyala Lakshmipathi, and directed by Gopala Krishna himself on request. The play assumed the form of a poetic drama with the induction of versified dialogues scripted by the noted poets, Kothurthi Bhaskara Rao and Mantha Pattabhirama Rao. With the inclusion of actors Bagadi Atchannaidu for the title role along with P. Akkalanaidu, S. Avatharam Naidu, L. Joga Rao and the likes, though for the supporting roles as they are more tuned to display their musical and histrionic talent in the mythological plays like Gayopaakhyanam' and `Harischandra', it as well reflected the fervour of a pouranic drama. Over all, the script and the presentation as well appeared to be indiscriminate mixture of all idioms of Telugu and designs in play production.
In an effort to overcome his own mistake of alloting more than one character to some of the actors, V. Narasaiah - Angaraka Sastry and Govindapaada, P. Narasimha Rao - Rajaguru and Bhokta, M. Pattabhirama Rao - Sivaguru and Vyasa, M. Kshirasagar - Mantri and Bhokta, and most importantly K. Vijayalakshmi- Aryambha (mother of Sankara), Ubhaya Bharati (wife of Mandanamisra) and Rani (queen of Amaraka), the director was forced to introduce the character `sootradhari' in between almost all scenes to allow time for change of costume, affecting the tempo adversely. Nonetheless, the playwright, the director and the actors who achieved a good team spirit among themselves on the stage deserve all kudos for having thought of such a sublime theme and presenting it. It could go well refined modifying the script first followed by the production design scene by scene, elimination of the sootradhari, setting of music, selection of appropriate personality for the character of Sankara and finally restricting the duration to about two hours.
Besides Vijayalakshmi who lived the three roles, K.V.B.H. Babu Rao as Chandala (Lord Siva in disguise) and V. Narasayya were conspicuous with their excellent display of histrionic talent.
The others in the cast were B. Appanna Kumar, T. Rami Naidu, M. Madan Mohan, V.K. Trinadh, N. Pattabhirama Rao, K.V. Sivarama Krishna, Master A. Goutham, P.S. Prakasa Rao, D.V. Ramana, A. Ravi Kumar, P.R.J. Pantulu and Sivajyothi.Make-up by Chiranjeevi and Bharani, stage decor by Sitaram Satpathi, harmonium by B. Vijayasaradhi, mridangam and tabla by Anantha Rao, stage management by Krishna Prasad, A.B.K. Sarma and M. Srinivasa Rao were assets.
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Visakha Saahithi organised a talk on the critique of the late Charla Ganapathi Sastry on the Bhagavadgita. His daughter Vidula, former lecturer of St. Ann's College, Malkapuram, quoting excerpts from the work, elucidated how Sastry, in his simplest possible and even children-friendly Telugu idiom, highlighted the quintessence of the attributes of yoga in its various forms. Their practice, including the resultant evolvement of the mind and the soul, contained in the proclamations of the Gitacharya stood exemplarily explicated in the work.
The sahithi president, K. Malayavasini, who chaired the session, observed that the life of the late Sastry in letter and spirit was a replica of the serene simplicity personified by Mahatma Gandhi. A patriot and also a crusader of Sanathana Dharma that ensigns the national character, Sastry translated and published more than 80 Sanskrit grandhas into simple Telugu of which `Ganapathi Ramayana Sudha' won the Central Sahitya Akademi Award, Malayavasini informed the gathering. Its secretary, Jampana Kumara Varma, welcomed the gathering.
A. RAMALINGA SASTRY
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