A two-day Koodiyattam performance at Nepathya, Moozhikulam, was an exercise in exploring both the mimetic and oral traditions of this ancient art form. Though Koodiyattam incorporates all the fourfold acting techniques of Angika (gesture), Vachika (words) Aharya (costumes), and Satwika (expressions) as envisaged by treatises like the Natyasastra , it is perhaps best known for its strictly codified and refined kinesics and emotive acting techniques. The actor uses his whole body, limbs, eyes, facial muscles and hand gestures in creating the scenic elements and visual narrative of the play in an empty and limited space on the stage.
The eyes say it all
Of particular importance is Nethrabhinaya , which means emoting with the eyes. Through a series of stylised movements of the eyes, and the power of expression, an actor can portray an array of situations, feelings and events to convey an illusion of a visual imagery to the audience. There are many such famed scenes in the Koodiyattam repertoire, flawlessly performed by veterans and cherished by connoisseurs, like those in Kailasodharanam , Sikhini Salapbham and Panadroopam .
On the first day, Nepathya Vishnuprasad presented Kailasodharanam and Parvathi Viraham . On his way back in the Pushpakavimana, after winning over Vaishravana, Ravana is stopped by Mount Kailas and he gets stuck in the peaks of the mountain. Ravana in rage asks the mountain to move away to make way for him. An arrogant Ravana tries to lift the mountain. In a classic example of Nethrabhinaya, the actor begins by looking at Kailas and depicts through the movements of the eyes, gestures and body positions spatial dimensions such as height and width of the mountain including the valleys, caves, rivers, springs, trees... So meticulous are the movements that the images are graphically conveyed to the audience. Once the enormity of the mountain is established, Ravana with all his strength and might lifts and plays with it.
In the meantime, Lord Shiva and Parvathy are sharing leisurely moments atop Mount Kailas when Parvathy notices something in her husband’s hair - a face of a woman. Shiva tells her it is not a face, but a flower. A quarrel ensues and Parvathy is about to leave in her chariot. It is at this moment that Mount Kailas is shaken by Ravana. Frightened, Parvathy clings on to Shiva in a close embrace and they forget the quarrel. This sequence of Parvathi Viraham was well executed by Vishnuprasad. He smoothly transforms himself into the roles of Shiva and Parvathy by using Pakarnattam.
The jester
Showcasing a powerful example of the oral traditions of storytelling, Nepathya Yadhukrishnan donned the role of Vidhushaka from the fourth day of Subhadra Dhananjayam.
Though sewn into the main body of the text of the play as a friend of the hero, the role of Vidhushaka as a jester can be seen developing as an independent narrative stream, often calling to a halt the temporal flow of the drama and branching out in a lighter vein to more mundane moments.
He translates the original Sanskrit dialogues in the play and verbally elaborates the stories and episodes from the epics in Malayalam. In the role, as a part of the main plot, he invents his own stories and anecdotes spiced with innuendos to contemporary socio-political situations, even taking the liberty of ridiculing the members of the audience at times. Yadhukrishnan as Kaundinya, enters seeking alms in a makeshift bowl made of plantain leaf and tells the story of how he embarked on a pilgrimage accompanying Arjuna and reached the holy spot of Prabhasa Theertha. In between, he goes on to deliver his observations on human deeds and its effect on our lives. Told in a humorous strain, the labyrinthine oration has an undercurrent of serious existential concerns of philosophy, religion, morality, politics and statecraft.
Practice makes perfect
Perfecting Vidhushaka takes years of practice and the tonal modulations and mannerisms peculiar to it can only be achieved by keenly observing the masters on stage.
It entails uncanny word skill, incessant acquisition of knowledge from far and wide, keeping an open mind to everyday happenings in all spheres of social life and capacity to assimilate the same seamlessly into the thread of the play. Perhaps, it is this strenuous journey causes a dearth of new entrants into this field.
As such, it is heartening to watch the talented Yadhukrishnan performing Vidhushaka with a gift of the gab that is promising.
Nepathya’s dedicated team of Kalamandalam Manikandan, Nepathya JInesh, Nepathya Aswin on Mizhavu, Kalanilayam Rajan on Edakka, Kalamandalam Satheesan and Indu G. behind the curtain lent excellent support to the young artistes. In a welcome attempt, Nepathya used the synchronised sub-titling technique by projecting commentaries of the scenes enacted by the actors. This helped the audience understand what was unfolding on stage.
