Kindling talent
MANU REMAKANT
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Participants of a 10-day theatre workshop in the capital city were trained in technical and artistic aspects of the stage.
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The participants of the workshop were trained in lighting, costume designing, set designing, puppet making …
Sparks of creativity: Participants light the ‘fire tree;’
The premises of Vylloppilli Samskriti Bhavan came alive as artists and onlookers spilled on to the garden of the Bhavan to celebrate the grand finale of a theatre workshop organised by Nireeksha, a woman’s theatre group based in the capital ci
ty. As night fell, women danced to the music of country drums. One by one, the artistes lit the branches of a ‘tree,’ signifying the kindling of that innate artistry that rests in every being.
‘Fire tree’
The ‘fire tree’ was one of the highlights of the day. Unlike the usual inaugural ceremonies, the organisers felt that the performing artistes themselves should inaugurate the function. So they designed a ‘tree’ and asked the artists to light the wick on each branch. It was a sight to behold as the setting sun and the music created a perfect backdrop. Well known artist Sajitha Shankar was among the many artistes who lit the ‘fire tree.’
The festival was the culmination of a 10-day theatre workshop that was held in Thiruvananthapuram. Fifteen women, including three Adivasis from Attapadi, participated in the workshop. Professionals from Kerala and Tamil Nadu performed folk and classical art forms and the spectators were also invited to participate in the revelry. The festival began with an arresting performance of Mudiyattam by artistes from Polika Nattukoottam from Chelakkara. Even the flowing tresses of the artistes seem to swing to the rhythm of the music as the dancers cast a spell on the audience. After the exuberant Mudiyattam, the Chelakkara artistes presented Kudakuthikali, another folk art form from Malabar. The dance, using umbrellas made from tender leaves of palm trees, was a charming visual commentary on the lives of women of another era.
It was followed by a folk performance by artistes from Chemmani, a cultural group in Tirunelveli, Tamil Nadu. Folk dance forms such as ‘Thappattom,’ ‘Kazhakattom’ and ‘Oliyattom’ whetted the appetite of the spectators.
Artistes engrossed in a class on puppet-making.
In the classical art session, there were only two items, but both captured the imagination of the viewers.
Margi Sathi came up with a scintillating Nangiarkoothu performance as Kannagi. There was pin drop silence as Kannagi threw her anklet before the king, venting her ire against blind and illogical justice.
The Nangiarkoothu was followed by ‘Duryodhanavadhom,’ a Kathakali performance by women artistes from Thripunithara. Geetha Varma’s Roudra Bheema remained etched in the minds of the audience owing to her controlled acting and technical perfection. The workshop also focussed on the technical aspects of theatre. “That is where women still lag,” says C.V. Sudhi, coordinator of the workshop and secretary of Nireeksha.
“The participants of the workshop were trained in lighting, costume designing, set designing, puppet making … On the last day of the workshop, the participants presented their works on stage and all of them came up with so many innovative ideas and themes that we will need a new method of play acting on stages designed by these students,” feels Rajeswari, another member of Nireeksha.
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