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Photo: K.K. Gopalakrishnan

Evergreen hero: Kalamandalam Gopi as Bahuka in ‘Nalacharitam’.

All maternal instincts are kindled as Kunti sights Karna even at a distance. She has no option but to reveal the secret of his birth to get him to the side of her other sons, the Pandavas. The mother begs. The subtle acting moves the packed spectators, consisting of both connoisseurs and laymen.

While Karna rejects the appeal of his mother by vouching his absolute loyalty to his protector Duryodhana, Kunti finds extremely hard to control her emotion. However, for a split second the mother feels proud at the fidelity of her combatant son. Surprisingly it is Kalamandalam Gopi, the legendary Kathakali actor of hailed for his protagonist roles acting as Kunti; his maiden attempt in this role in his fifty-plus years of artistic life. This septuagenarian exponent can be best described as the ever-green hero of Kathakali, who portrays the hero with satwik qualities, distinguished by the pacha (green) facial make-up (Pandavas, Karna, Nala, Rugmangada, etc) that they adorn. The Kerala Government has selected the maestro for the top most honour of the State for his art.

Gopi’s entry into the world of pantomime was by accident. “In 1945, when I was in the third standard, I was initiated to learn Ottanthullal (a semi-classic and semi-folk art form of Kerala). In a year when the master gave up the art, I lost both schooling and art. In 1949, I was sent for training in Kathakali under the late Thekkinkattil Ravunni Nair, and again it was shrot-lived. In 1951, I was sent to the Kerala Kalamandalam. Poet laureate Vallathol looked at me from head to toe and admitted me straightway to the Kathakali acting course without any admit tests,” Gopi reminisces.

Gopi believes that the first three years of training under late Padmanabhan Nair laid a strong foundation. Subsequently he got trained under Ramankutty Nair, senior faculty.

On completion of the course Gopi joined the faculty as junior Kathakali trainer and the innumerable performances as a member of the minor troupe enabled him to earn a rich stage experience. Thus by the time he was in his mid-thirties his reputation as a fine actor was established; indeed a rare distinction for any Kathakali artiste. On attaining the age of 55, in May 1992, he retired from the Kalamandalam as Principal. Rather premature for a Kathakali and Koodiyattom artiste.

Renowned for his excellent manodharma (imaginative acting), Gopi is equally famous for his impromptu reciprocations to the co-actors on stage. He identifies himself with the character, so much so that the impact remains even after the performance is over. “I am a sensitive person perhaps that must the reason,” reflects the master.

Dharmaputra, Bhima, Arjuna, Nala, Karna, Rugmangada and Roudra Bhima are among the lead roles that attain the dignity of both aesthetics and theatrics when Gopi dons them. His performance as Bhima with Ramankutty Nair (as Hanuman) in Kalyanasougandigam and as Arjuna and Nala with Padmanabhan Nair as the Brahmin (Santhanagopalam) and Hamsa, the swan (Nalacharitam first day) respectively. With Kottakkal Sivaraman, who played the female role, he made a fine pair, especially for the depiction of Sringara. Surprisingly, for an artist of such stature, he was conferred with few national awards, the Central Sangeet Natak Akademi award (1987) being one of them.

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