Kalamandalam Adithyan carried out the position of Nala in ‘Moonnamdivasam’, throughout the five-day Kathakali competition, Pancharathram.
| Picture Credit score: Achuthan T Okay
Kalamandalam Vaisakh is 35, and has been an expert Kathakali actor for over 15 years. But he obtained an opportunity to carry out the difficult position of Bahukan in ‘Nalacharitam’ for the primary time just lately. It’s not shocking, since in Kathakali, artistes graduate regularly to taking part in main roles, the protect of senior performers. These standard boundaries now appear to be fading as gifted younger actors are claiming their spot within the limelight, and organisers too have grow to be extra open-minded.
Vaisakh and 29-year-old Kalamandalam Adithyan obtained such valuable alternatives at Pancharathram, a five-day Kathakali competition organised just lately by Vazhenkada Kunchu Nair Memorial Belief in Karalmanna, in collaboration with Indira Gandhi Nationwide Centre for the Arts, a wing of the Ministry of Tradition. The competition featured 16 performances over 5 days with over 100 artistes, together with musicians, percussionists and make up artistes.
Unfold over three segments
Based on the organisers, the main target of Pancharathram was to supply meaty roles to the actors, and never in presenting all the play. This method ensured that extra tales had been offered and extra artistes had been accommodated. ‘Pancharathram’ was structured with three segments. Within the first, promising younger actors got main solo roles> They had been inspired to plan new descriptive items, which aren’t solely imaginative and poetic but additionally character-centric.
Kalamandalam Adithyan carried out the position of Nala in ‘Moonnamdivasam’, throughout the five-day Kathakali competition, Pancharathram.
| Picture Credit score:
Achuthan T Okay
Within the second, senior actors had been supplied extremely structured roles that demand strict adherence to the attaprakaram or actor’s handbook and don’t permit a lot latitude to improvise. The third section featured performances by pairs of actors to point out how the chemistry between actors has a optimistic impression on viewers expertise.
Kalamandalam Vaisakh as Bahukan in ‘Nalacharitam Moonnamdivasam’, staged as a part of Pancharathram, the five-day Kathakali competition.
| Picture Credit score:
Picture by Achuthan T Okay
Says Vaisakh: “To me, performing as Bahukan in ‘Nalacharitam Moonnamdivasam’, which has been immortalised by legends, was extraordinarily difficult. I did a number of house work and referred to a number of books to arrange for the position. Significantly, the scene that exhibits Bahukan within the forest after leaving his spouse, and ready for a reunion with Damayanthi. I wished the scene to be optimistic in tone and used neo-classical imagery in sync with Kathakali literature. I depicted a narrative of two birds perched on a tree escaping risks from a hunter and a python. I in contrast the birds to Nala and Damayanthi.”
Kalamandalam Adithyan carried out the position of Nala in ‘Moonnamdivasam’, which begins with Nala sitting forlorn within the forest after deserting Damayanthi. Says Adithyan: “Throughout my post-graduation, I used to be skilled in ‘Nalacharitam’ at Kalamandalam by Gopi Asaan. Therefore I used to be aware of the textual content and the actor’s handbook. However this can be a advanced position the place Nala’s frame of mind vacillates between despondency and equanimity.”
Kalamandalam Vaisakh as Bahukan in ‘Nalacharitam Moonnamdivasam’, staged as a part of Pancharathram, the five-day Kathakali competition.
| Picture Credit score:
Achuthan T.Okay.
Each Vaisakh and Adithyan imagine such difficult roles are essential for younger artistes. “It provides us a possibility for self-assessment. For instance, I realised I must decelerate in sure segments to higher convey my ideas to the viewers,” says Adithyan. Based on Vaisakh, the response of his friends has boosted his confidence.
Strict adherence to the handbook
The part for senior artistes included ‘Kirmeeravadham’ and ‘Kalakeyavadham’, written by Kottayam Thampuran. They’re extremely structured tales that insist on full adherence to the attaprakaram or actor’s handbook. For instance, in ‘Kirmeeravadham’, Dharmaputra is unhappy and helpless as he units out together with his spouse and brothers to the forest. Kathakali gurus insisted that this temper have to be depicted utilizing all the physique. “No wrinkles on the face nor a teardrop for a heroic character equivalent to Dharmaputra,” guru Pattikkamthodi Ravunni Menon had mentioned.
Equally in ‘Kalakeyavadham’, Arjuna has to take a seat nonetheless together with his again straight and maintain the bow and arrow with each palms to mission his satisfaction until Indra’s charioteer Matali completes singing his praises. This 25-minute scene permits the actors to react to eulogies solely by means of facial expressions. Each these bodily and mentally demanding episodes had been secure within the palms of senior artistes, Peesappilli Rajeevan and Kalamandalam Krishnakumar.
Kalamandalam Pradeep as Ravanan together with his lackeys in ‘Toranayudham’, offered throughout the five-day kathakali fesival Pancharathram.
| Picture Credit score:
SURESH MALOOTY
Kathakali’s comedic facet too was showcased at Pancharathram. Ravana wooing Sita, and getting rebuffed in ‘Toranayudham’ with Ravana’s show of affection turning into buffoonery as his lackeys convey the treasure chest and provide items to Sita. A superb automobile for Kalamandalam Pradeep’s versatile expertise.
Manasi Raghu Nandan, regional director of IGNCA in Thrissur and an Odissi dancer, mentioned they supported Pancharathram as a result of it supplied a platform to protect and promote a wealthy classical artform. Every story was prefaced by a brief commentary that highlighted the essence of Kathakali, and never merely the plot, for the advantage of the uninitiated.