T hree students from the National School of Drama (NSD), New Delhi, stand motionless on an improvised stage at Natanakairali, Irinjalakuda. After a prolonged period without even a flicker, gradually, they begin moving and that too ever so subtly and at such a slow pace that its like someone is breathing life into them. In between, the trio shout out loud. Interestingly, the tone is different for each shout and they are not in sync, either in pitch or intensity. After protracted movements, they collapse on the floor. Even the fall is not synchronised. Soon, one after the other, they enact some roles describing different emotions in different parts of the compound.The trio are practising ‘Navarasa Sadhana’, a technique of evoking the nine sentiments, the end-result of extensive research by G. Venu, well-known performer, choreographer and teacher of Koodiyattam. Over the past year, the guru has been training students of theatre from NSD in this technique in a bid to enrich their histrionic abilities. As the demonstration comes to a close Venu, who is a visiting faculty member at NSD, explains the ‘Navarasa Sadhana’ .
What was the source of inspiration to explore the navarasas?
I knew about the ‘Abhinaya Kalari’ (acting laboratory) of Kodungaloor Palace, having gleaned it from the scanty notes of Thekkinkattil Ramunni Nair, Kathakali exponent of yore, in his book Natyarachana . Also, Pattikkamthodi Ravunni Menon had mentioned about the training he had undergone in the Palace in a souvenir published by Kerala Kalamandalam in 1958. The great scholar Bhagavathar Kunjunni Thampuran of the Palace evolved the unique technique of Swaravayu. The essence of this practice is the influence of breath in producing a swara. Ravunni Menon had penned, “Just as each raga has a dominant swara, each rasa too had a dominant swara.” But my tryst with the practical application of this happened only after joining Ammannur Gurukulam, Irinjalakuda, for Koodiyattam training under Guru Ammannur Madhava Chakyar more than four decades ago. He too had honed his acting skills in the Palace. Mani Madhava Chakyar also had his stint as a student at the Palace for nethrabhinaya.
Tell us more about the Palace’s laboratory
Kodungaloor Palace was famous for its patronage of all branches of knowledge such as Sanskrit, Natyasastra, Ayurveda, Yoga, music and so on, dating back to the 18th century. Naturally, as for their acumen in Natyasastra, it must be a continuation of the Kulasekhara tradition. Kulasekhara’s contribution given through Vyangyavakya is immortal and it revolutionised Koodiyattam. Moreover, the famous epic Silappathikaram was composed by Ilamkovadikal at Mathilakam, Kodungalooor. The Palace was a veritable university right from the time of Elaya Thampuran (1800 – 1850). Cheriya Kochunni Thampuran and Bhagavathar Kunjunni Thampuran were his successors.
But these great masters of Kathakali and Koodiyattam were not musicians. How did they imbibe the technique?
Kunjunni Thampuran was well aware of this problem. So what he had prescribed for them was a simpler system of practice known as Rasavayu that connects breath and rasa. Ammannur Madhava Chakyar, for example, was well-known for using this technique for his improvisations of the death sequences of Bali. In fact, the feat had brought him international acclaim. Once, when he presented the same at Riverside Studio, London, the theatre critic of The Guardian commented: “One of the bravest, the most outrageous pieces of acting I have ever seen. Who else would dare take 15 minutes to die on stage and get away with it?”
Why did you decide to focus on the navarasas?
They are the core of an actor’s training. Rasa, the aesthetic enjoyment, is relished by the audience through the actor’s performance. This is the essential purpose of a presentation in Indian dramaturgy. That’s why Bharatha’s Natyasastra lays so much thrust on them. Rasa, also known as sentiment, is produced by a skilful combination of ‘vibhava’ (determinants), ‘anubhava’ (consequents) and ‘vyabhichari’ bhavas (transitory states) that are 33 in number. My research in this connection convinced me that though these have been prescribed in Natyasastra, the vyabhichari bhavas have not been fully explored by both academics as well as actors in the past. Bharatha had mentioned only eight rasas and the ninth one, Santha, was added later by Abhinavagupta. But a close examination of Natyasastra reveals that Bharatha had hinted at this through the first vyabhichari bhava, nirveda. This implies total detachment from all senses.
Then, what is the methodology?
The methodology consists of stylisation based on bringing together every bhava through certain exercises related to the sensory and physical realms culled out from experiences in everyday life. As for nirveda, the concomitant vibhavas are ‘daridrya’ (poverty), ‘vyadhi’ (worry), ‘avamanam’ (getting insulted), ‘adhikshepam’ (abusive language), ‘thadanam’ (wrathful beating), ‘ishta jana viyogam’ (loss of loved persons) and ‘thathwagnanam’ (knowledge of the ultimate). For each of these, enacted through imagination, the right voice has to be identified by the actor. This is achieved through a long process of producing a variety of sounds without any prejudice until the right one in attained. This also enables him to identify the corresponding breath (vayu). For breath is the source of voice. Once this state is reached, evocation of the rasa – in this case, Santha – becomes handy. But the whole practice is cumbersome and students undergo both physical and mental hardships during the training.
How long would it take to train in the rasas?
As of now, I have been training the students only in santha, which itself takes more than three weeks. But regular practice is essential for mastering it. Training in all the rasas may extend to around two years. Many of the theatre persons who attend the course often cannot afford to train for such a long period due to prior commitments. That’s why they prefer to concentrate on rasa. Of course, Koodiyattam has prescribed slokas for evoking the rasas; but this cannot be practiced by theatre students and practitioners. So, the course is targeted at theatre actors. I must add that the technique is as beneficial to an actor as a swara sadhakam is for a musician.
