Kiratam , composed by Irattakulangara Rama Varier (1801-1845), is one among the few pious (saatvik) episodes on the Kathakali stage. Kathakali buffs at all levels, from the most uninitiated to the highly learned, love to watch it because of the umpteen possibilities for improvisation the play provides. Artists too enjoy performing the play for the same reason.
The play was recently performed in Thiruvananthapuram. The hunter (Kirathan or Kattalan), the huntress (Kirathasthree or Kattalathi) and Arjuna are the main characters in the play that narrates the story of the Pandava prince’s penance to please Lord Siva and acquire the ‘Pasupatha’, a deadly arrow. During the Pandavas’ exile in the forest, they were advised by saint Vyasa to equip themselves for a possible war against the Kauravas, their cousins. Thus Arjuna left for the Himalayas to begin his penance to propitiate Lord Siva.
Arrow of contention
Finally Siva decides to bless him and disguising himself as a hunter goes into the forest with Parvathi in the garb of a huntress. He shoots and kills a wild boar that Duryodhana had sent to kill Arjuna. The Pandava had also shot at the boar and there is an altercation between Siva and Arjuna that results in a battle between the two. Finally Arjuna is vanquished and humbled. That is when the prince realises the identity of the hunter. A humbled Arjuna is given the weapon that he had prayed for and Siva departs.
Olary Manoj as Kattalan and Oyoor Ramachandran as Kattalathi in Kiratam
Olari Manoj (hunter), Kalamandalam Oyoor Ramachandran (hunter’s wife) and Margi Pradeep Kumar (Arjuna) essayed the roles respectively. They vied with each other in showcasing their dexterity.
Enthusiastic narration
The part known as ‘Aayudhanottam’ (examining and testing the efficacy of weapons) that followed the introduction ( thiranottam ) of the hunter and huntress was portrayed enthusiastically. The scene was interspersed with strains of romance. The hunter’s intermittent interaction with Arjuna, on the one hand, and with the huntress, on the other, brimming with mock anger and love respectively proved the acting skills of the artiste in particular, because of the harmonious blending of features of realism in profusion with those germane to classicism.
Pradeep Kumar’s presentation of Arjuna’s conversion into an ascetic, his depiction of a mongoose, snake, leopard and fawn and contextually appropriate improvisations were interesting to watch. The manner and appearance with which he traversed the length and breadth of the stage prior to the dhanasi, however, hinted at the arrogance that lingered in his mind. Obviously, it contradicted the essence of the play. Presentation of this scene by veteran actors usually conveys Arjuna’s self-satisfaction topped with humility and also grateful recollection of the Lord’s affection showered on him.
As is customary, scenes with Indra and his damsels were omitted. The role of Siva blessing Arjuna with Pasupata was handled by Margi Sukumaran, while Ramachandran who earned the appreciation of the audience through his presentation of the huntress co-acted with him as Parvati.
Music by Kalamandalam Sudhish and Kalamandalam Krishnakumar was impeccable and commendably charged with emotion throughout the play. Kalabharati Unnikrishnan on the chenda and Margi Ravindran on the maddalam provided the suitable ambience.
The recital was held under the aegis of Drisyavedi.
