Fine stroke of creativity

MAX MUELLER Bhavan observed the centenary year of the German scholar's death and paid homage with an offering of performances, lectures and discussions. This series, titled, ``Homage to Max Mueller'', featured two interesting presentations of Sanskrit theatre - Kudiyattam, and Nangiar Koothu from Kerala and a dance drama inspired by the Rigveda. Lectures on different branches and aspects of the performing arts and allied areas of study, their preservation and propagation and a video presentation on Max Mueller were the highlights of the three-day festival, organised by Dr. E. Rahimi, Director, Max Mueller Bhavan with Ludwig Pesch, well-known German musician and scholar, as the source person for the events.

Natana Kairali, founded by Gopal Venu, and headed by Ammanur Madhava Chakyar, living legend of this grand old Sanskrit drama tradition of Kerala, offered scenes from dramatist Bhasa's play ``Abhisheka Nataka'', based on the epic Ramayana. The scene began with Ravana being informed by the watchman of Asokavana, which has been destroyed by Hanuman and thereafter Ravanasura setting out in rage and the episode of his worshipping the Lord of Kailasa, where the divine couple are enjoying each other's company. At a moment Parvati notices the face of a woman (the Ganges) seen from within the matted hair of Siva; there starts the ordeal for the Lord facing the suspicions of His consort, for which he tries to give convincing answers. Finally, an enraged Parvati starts leaving the scene, even as the Kailasa mountain trembles by the fierce force of Ravana, who tries to lift it, to draw the attention of his Lord. Immediately Devi runs back to Siva in great fear and embraces Him. Thus the momentary dispute gets settled between the divine couple.

The choice of this lively segment, Toranayuddham, was a treat. Gopal Venu, principal artiste, in the role of Ravana and later in the dramatisation of the entire episode of the divine couple, excelled in his portrayals. His Netra abhinaya and alternating depictions of the Lord and His consort with swift and remarkable skill, denoting the change of roles, marked clearly the unique features of this authentic dance-theatre tradition of Kerala. Sankukarna, the watchman of the garden, though in a minor role proved his capacity.

Vibrant performance

Equally appealing was the earlier performance of Nangiar Koothu with the episode of ``Poothana Moksham'', presented by Kapila, the young dancer-daughter of Venu and Nirmala (Mohiniattom artiste from Natana Kairali). With her expressive face, Kapila was able to enact skilfully the conflicting emotions of the demoness Poothana.For both presentations, the accompanists - the Mizhavu and Edakka players of this troupe - did an excellent job, establishing the importance of the orchestra of the traditional theatre.

On the second day, Ushas, an abstract idea conceived from the Rigvedic hymns, choreographed by Manjari, daughter and disciple of Prof. C. V. Chandrasekhar, was presented by two vibrant dancers - Mahalakshmi and Suhasini. Prof. C. V. Chandrasekhar conducted the programme, assisted by an orchestra consisting of Vanati (vocal), B. Muthukumar (flute), N. Skihamani (violin), and Balakrishnan (mridangam).

The Rigveda describes Ushas as a young maiden dancing with colourful and beautiful garments. Based on a similar concept, a thematic ballet picturising a young maiden to depict dawn with a story line woven around an existing bush which assumes the light and vibrant spirit of dawn, the brightness of the radiant sun, and finally the graceful merging of the beautiful Ushas which transfers its joy of colour to the bush, slowly slipping into the approaching darkness of the Night.

Manjari deserves every praise for choosing an apt theme for the occasion dedicated to the memory of an outstanding scholar who expounded the Vedas to the West. Manjari, herself a graceful dancer, has proved her strength as a sensitive choreographer. The movement techniques employed aptly to portray the rising of Ushas (Mahalakshmi), the co-existence of Dawn and Night (Suhasini), and the merging of the two were exquisite descriptions. The depiction of Surya as a young man in pursuit of Ushas was a fine stroke of creativity.

Both Mahalakshmi and Suhasini had ample scope to exhibit their skill in dance as well as perfect co-ordination on stage.

NANDINI RAMANI

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