Spotlight on Kannada theatre

THE STAGE sprang to glorious life on the screen. And a drab afternoon became a highly interesting one when the Voicing Silence group of the M. S. Swaminathan Research Foundation organised the viewing and discussion of three video films on Kannada theatre. For days after the viewing, the images and music lingered in the mind infusing a quality of richness to the mundane rhythm of life.

The educational cassettes had been produced by Ninasam, well known theatre institute at Heggodu, Karnataka. Ninasam founded by K. V. Subbanna has played a vital role in popularising and rejuvenating Kannada drama. Its repertory Tirugata has given shape to 40 productions many of which are based on classics of Kannada literature. The cassette project "Kannada Nataka Kannadi" conducted by Subbanna in association with Ninasam has been aided by the Ramon Magsaysay Award Foundation and the Rockfeller Brothers Fund. These cassettes meet a need for audio-visual aids to help teachers, students and enthusiasts of theatre and literature.

Each cassette (with English sub-titles) is centred around a significant play in Kannada. The exercise has a clearly defined structure with an introduction to the work, excerpts from the performance and an analysis placing the play in the context of the Kannada drama tradition.

The three plays chosen for screening at the Don Bosco Institute of Communication Arts on July 8 were Girish Karnad's "Taledanda", Pattara Mastara's "Sangya-Balya" and P. T. Narasimhachar's "Gokula Nirgamana". Not only do these works represent important periods in the history of Kannada drama but also underline "the continuity and difference within the Kannada drama tradition."

"Taledanda" written in the 1990's by Karnad portrays the political, religious and social conflicts during the reign of King Bijjala whose enlightened Prime Minister was Sri Basaveswara, the central figure of the Vira Saiva movement.

The camera trapped the colour, movement and the intensity of the plot with such power that one was transported to the centre of the drama. The costumes in russets, deep mustards and purples and the simple artistic sets hightened the visual appeal of the play directed by Chidambara Rao Jambe, principal of Ninasam. The analysis of the text by well known theatre critics and professors of drama provided useful insights into the multi-layered work. The interpretations were subtly threaded with the performance excerpts and the contemporaneous shades of the theme were brought out in full.

"Sangya Balya" though written more than a hundred years earlier is located nearer our times. Set in Belgaum of the late 19th century, it is about two friends - the wealthy Sangya and the poor Balya. But there the cliche ends. The musical drama by Pattara Mastara considered the first modern play, is a classic in its genre and still draws crowds whenever it is staged.

The quality of the singing was excellent in the verse drama directed by K. V. Akshara. Folk forms were strikingly used to puts across the theme of the play.

The songs and choreography were also what made "Gokula Nirgamana" so dynamic. The opera written by P. T. Narasimhachar in the 1940's was directed by B. V. Karanth who has also composed the music. It showed why Karanth is lauded for investing theatre with an air of celebration. The opera opens in Gokula on the final night Krishna spends there before leaving for Mathura. The various interpretations of the work were interesting; especially brilliant was Subbanna's comments on the concept of Gokula as a beautiful dream.

The names of those associated with the project reads like a Who's who of theatre, and the arts. Girish Kasaravalli has edited the plays with perception and skill. The videography is by H. M. Ramachandra and the scripting by K. V. Akshara. Other experts who have guided the project include T. P. Ashok, theatre critic, K. R. Nagaraj, Professor of Kannada literature and U. R. Anantha Murthy, former chairman of the Sahitya Akademi.

At the discussion following the viewing (which definitely deserved a larger audience) quite a few questions arose. What were the criteria for the selection of the plays? Why was this particular production chosen and not another? Why were the production aspects not dealt with? Why was it all so text centred? Should not have more information and historical background been provided? Whatever be the answers, the project clearly succeeds in deepening our understanding and appreciation of Kannada theatre.

The four hour screening provided a compulsive viewing experience for all those interested in the arts.

For details, contact: Ninasam, Heggodu, Sagara, Karnataka. Ph: 08183-65646, 577417.

KAUSALYA SANTHANAM

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