An evening of Pakarnnattam staged in city

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Follow us:WhatsappFacebookTwitterTelegram.cls-1{fill:#4d4d4d;}.cls-2{fill:#fff;}Google NewsThe large projector screen on the wall above the stage flickered as a laptop was being set up near by. Technicians fiddled around with the lights to get a soft orange. To an unassuming passer-by, it would seem another lecture was scheduled at the Institute of Management in Government (IMG) hall.But the two mizhavus set on stage with four plastic chairs stacked behind each of them gave the game away - a Kutiyattam performance was in store, for mizhavus, large jar-shaped drums made of clay or copper, are the characteristic percussion instruments which accompany this temple art form of Kerala.Two taps on the mizhavu resounded in the hall, the tempo slowly picked up and died down. Again the sound of the mizhavu rang out and this time, was joined in by the slow, deliberate beats of the thaalam (cymbals) played by a lady seated on the right side of the stage. The curtain fell off to reveal Ravana sitting majestically, his eyes glaring and arrogant.Thus began the performance organised by Centre For Kutiyattam for the senior government officials from various other states who were in town for a training programme at the IMG.In an innovative gesture, the performance was accompanied by its interpretation in English which appeared on a screen, so that those unfamiliar with the mudras and Sanskrit verses could keep pace.“This is our way of taking this ancient art form of ours to a larger audience,” said Centre for Kutiyattam director K K Gopalakrishnan.The performance was an extract from Thoranayudham. The part appears as Act III of Sanskrit poet Bhasa’s play ‘Abhisekha Natakam’. The scenes enacted were ‘Kailasodharanam’, where Ravana boasts of uplifting Mount Kailas itself when it got in the way of his plane and ‘Parvathy Viraham’, where goddess Parvathi gets miffed when she notices the form of a woman in Lord Siva’s hair.The performance employed the technique of ‘pakarnnattam’, where the same actor plays different characters. Here, Kalamandalam Sangeeth Chakyar donned three roles - the arrogant Ravana, the querulous Parvathy and the amused Siva who strives to placate and reassure his suspicious wife.Put together by guru Kalamandalam Rama Chakyar, the accompaniments were by Kalamandalams Sajith Vijayan and Saji Kumar on the mizhavu, Kalanilayam Unnikrishnan on the edakka with Kalamandalam Krishnendu keeping pace on the thaalam.Keeping in tune with the fast-paced and impatient modern world, the entire performance was over in a little over an hour - a Kutiyattam play traditionally stretches for a number of days.Kutiyattam, the Sanskrit theatre of Kerala, is believed to be at least 1000 years old. Played traditionally by the Chakyar and Nangiar communities, it has always been considered a rigid and closed art form as it required the spectator to have a good understanding of Sanskrit, dance mudras and expressions. In 2001, it was recognised by UNESCO as a ‘Masterpiece of the Oral and Intangible Heritage of Humanity’.“Altogether, there are about 100 performers of Kutiyattam, including students,” said Gopalakrishnan. “If you consider active performers, the number is not likely to exceed 25.” The performers were felicitated by noted film-maker Adoor Gopalakrishnan.first published:July 21, 2012, 12:06 ISTlast updated:July 21, 2012, 12:06 IST
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The large projector screen on the wall above the stage flickered as a laptop was being set up near by. Technicians fiddled around with the lights to get a soft orange. To an unassuming passer-by, it would seem another lecture was scheduled at the Institute of Management in Government (IMG) hall.

But the two mizhavus set on stage with four plastic chairs stacked behind each of them gave the game away - a Kutiyattam performance was in store, for mizhavus, large jar-shaped drums made of clay or copper, are the characteristic percussion instruments which accompany this temple art form of Kerala.

Two taps on the mizhavu resounded in the hall, the tempo slowly picked up and died down. Again the sound of the mizhavu rang out and this time, was joined in by the slow, deliberate beats of the thaalam (cymbals) played by a lady seated on the right side of the stage. The curtain fell off to reveal Ravana sitting majestically, his eyes glaring and arrogant.

Thus began the performance organised by Centre For Kutiyattam for the senior government officials from various other states who were in town for a training programme at the IMG.

In an innovative gesture, the performance was accompanied by its interpretation in English which appeared on a screen, so that those unfamiliar with the mudras and Sanskrit verses could keep pace.

“This is our way of taking this ancient art form of ours to a larger audience,” said Centre for Kutiyattam director K K Gopalakrishnan.

The performance was an extract from Thoranayudham. The part appears as Act III of Sanskrit poet Bhasa’s play ‘Abhisekha Natakam’. The scenes enacted were ‘Kailasodharanam’, where Ravana boasts of uplifting Mount Kailas itself when it got in the way of his plane and ‘Parvathy Viraham’, where goddess Parvathi gets miffed when she notices the form of a woman in Lord Siva’s hair.

The performance employed the technique of ‘pakarnnattam’, where the same actor plays different characters. Here, Kalamandalam Sangeeth Chakyar donned three roles - the arrogant Ravana, the querulous Parvathy and the amused Siva who strives to placate and reassure his suspicious wife.

Put together by guru Kalamandalam Rama Chakyar, the accompaniments were by Kalamandalams Sajith Vijayan and Saji Kumar on the mizhavu, Kalanilayam Unnikrishnan on the edakka with Kalamandalam Krishnendu keeping pace on the thaalam.

Keeping in tune with the fast-paced and impatient modern world, the entire performance was over in a little over an hour - a Kutiyattam play traditionally stretches for a number of days.

Kutiyattam, the Sanskrit theatre of Kerala, is believed to be at least 1000 years old. Played traditionally by the Chakyar and Nangiar communities, it has always been considered a rigid and closed art form as it required the spectator to have a good understanding of Sanskrit, dance mudras and expressions. In 2001, it was recognised by UNESCO as a ‘Masterpiece of the Oral and Intangible Heritage of Humanity’.

“Altogether, there are about 100 performers of Kutiyattam, including students,” said Gopalakrishnan. “If you consider active performers, the number is not likely to exceed 25.” The performers were felicitated by noted film-maker Adoor Gopalakrishnan.