Superb adaptation
BHAWANI CHEERATH
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Abhinaya’s adaptation of ‘Siddhartha’ captured the essence of the novel and its protagonist.
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Photo: S. Mahinsha
Enduring images: Abhinaya’s ‘Sidhartha’ also scores on inputs such as music, costumes, choreography, light and set design.
Herman Hesse’s novel ‘Siddhartha’ holds a unique place in the literary firmament, for few have successfully captured the essence of philosophy, spirituality and the individual as well as the Nobel Laureate has done. It was therefore
only natural that a theatrical adaptation of the same would draw crowds. The resounding applause from the audience at the end of the play was an indicator of the success achieved by Abhinaya’s theatrical adaptation of the ‘Indic poem.’
The visual poetry on stage and the enduring images cast its spell on the viewer. A text that dwells on the inner journey of Siddhartha would surely be no cakewalk for an adaptation. But the performance was an aesthete’s delight, and this has been achieved by the fine scripting and a thorough knowledge of the original.
The quest for a philosophy of life takes Siddhartha through a unique journey where the meeting with Gautama offers no satisfactory solutions. The Brahmin is determined to learn not by embracing the Enlightened One’s guidance, but “I will learn from myself, be my own pupil” a very individualistic approach.
The river as a metaphor
Using the river as the metaphor for life, the play unravels the stages in Siddhartha’s search for meaning. Through stylisation techniques the mood for the play was maintained but it did not in any way overshadow elements of realistic portrayals wherever it was deployed. Delicately balancing these two elements requires a total command over the raw material in hand and that has been achieved in a manner nonpareil.
When Siddhartha parts ways with his friend Govinda, to continue his pursuit in the manner he desires, it is debauchery and hedonistic living that overtakes. Revel he does in the life of pleasure offered by the courtesan Kamala, battles he does with the mercenary trader Kamaswamy but it doesn’t last for ever, the restlessness moves him on.
Where does it lead him to? To the river, the boatman Vasudeva and his ferry. The tranquil waters, its continuity and the infinity are Govinda’s source of strength, he lives in the present and now offers Siddhartha the opportunity to learn from the river. The journey together was a frame that froze in the mind’s eye for the beauty of the moment that it captured.
With so many artistes on stage and the perfect synchronization achieved in the choreography, music and design is a telling comment on the benchmark Abhinaya has set for itself. D. Reghoothaman as Siddhartha was flawless but that does not in any way take the sheen off the performance of Sreenivas as the boatman Vasudeva or Gopalan as the merchant Kamaswamy. The Kamaswamy-Siddhartha throw of dice on stage and the serenity on Vasudeva’s face while he shares with Siddhartha his surrender to the eternal flow of the river are scenes that one will carry in the recesses of memory to recall the dynamism and the subtlety in the performance. Kani as Kamala essayed her role with the vivacious charm and stage presence demanded of her.
The director of the play, Jyotish M.G. remarked thus: “While adapting a novel for stage, it is often said ‘time’ and ‘space’ are the major limitations. Here the constraint was in itself the strength of the performance piece.” Every care had been taken to see that the lyrical quality of the text is not lost, he adds.
Hesse’s Siddhartha retains the lyrical flow in this theatrical adaptation which scores very high on inputs like music, costumes, choreography, light and set design.
As an official entry at the Avignon Theatre Festival in France, Abhinaya’s ‘Sidhartha’ will do the country proud for the elegant production.
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