Scorching reflection of reality

BASED ON Ambai's (C.S. Lakshmi's) short story, ``Karuppu Kuthirai Chadukkam'', the play, ``Porukka Mattom,... Porukka Mattom,'' dealt with the theme of custodial rape and violence with scorching intensity.

The 45-minute Tamil production was jointly presented by Paatini and Koothu-p-pattarai at the Police Training College at Ashok Nagar.

Adapted and directed by Prasanna Ramaswamy, ``Porukka Mattom...'' made a powerful visual and emotional statement. Making no concessions to the venue where it was staged it reflected reality in an uncompromising way. The spirit of the story, was not diluted in the least which was why the message came across strongly. Also perhaps why the audience comprising police personnel found it unacceptable.

The Marathi names were retained, the sense of grief and outrage at the torture inflicted was not watered down nor were the horrendous details of the incident which showed the barbarity of those in uniform glossed over.

Prabhakar Shinde, who works for the welfare of the tribals in Maharashtra, identifying himself with their cause and sharing their simple lifestyle is unceremoniously arrested as he is suspected, though wrongly, of setting fire to a mill.

Subjected to brutal torture by the police, he dies. Rosa, his wife and associate, and his family members claim his body. The next day, Rosa is called for questioning by the police and repeatedly raped. The incident is highlighted by the media and leads to a public protest about the atrocities committed by those in uniform. Towards the play's end, slogans are raised against the tyranny of the police.

Prasanna had blended the idiom of Bharatanatyam with the physical dexterity which the Koothu-p-pattarai repertory has become well known. The newcomers to the group impressed with their skill. As in Paatini's previous play, ``Meendum Meendum,'' Mangai was the strong voice of the production. As commentator (along with Bhagirathi) hers was the defining presence that underlined Rosa's grief. Bhagirathi unusually, seemed unsure. Chandra almost rose to the challenge of playing Rosa though her voice needs to be worked on.

As Rosa, she communicated the anger that transforms her in the eyes of the chorus into a veritable Kali.

``In every way, the play was different from an earlier staging where I had used a prime narrator and others as characters,'' says Prasanna. The story has several voices in the narration -- people with different ideologies who fight for a cause.

``I took it is a motif, as a narrator collective which transforms into dramatis personae.'' Lines taken from the text with slight rearrangement serve as self-introduction of the narrator collective. They see Rosa as Kali as she relates the incident and they become the Kali.

Soon after the staging, the Deputy Superintendent of Police seemed unhappy at the manner in which the police had been portrayed in the play. ``We have a feeling we have been found fault with,'' he said. To an audience not exposed to theatre, the play might have seemed too hard-hitting and stylistic to appreciate.

The police official also found the ending abrupt. ``But this is theatre and that's how Ambai's story ends,'' said Prasanna in her reply. To her surprise the play, commissioned by the police to sensitise their personnel and which was to be staged four times, was taken off after the initial performance.

``It was the IG, Ms. Thilakavathi, who chose the play and asked that it be staged 30 times. But I accepted only four performances. In fact, I agreed to do it only because I consider Ms. Thilakavathi a part of the artiste fraternity,'' says the director.

More than the decision to stop the play, what was upsetting was the manner in which it was curtailed -- no explanations or intimation given, says Prasanna. Repeated attempts by this correspondent to get in touch with Ms. Thilakavathi and obtain her response were in vain as the IG could not be reached and did not take the trouble to call back.

KAUSALYA SANTHANAM

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