Navarasas are used by performers to communicate the emotional experiences of the character they enact. A full night Kathakali performance at Irinjalakuda – ‘Navarasa Arangu’ – was composed of scenes from different plays, in which different rasas bloomed.
Sringaram (Love), considered the king of emotions, was portrayed through a scene from ‘Nalacharitham’ (II day), depicting Nala and Damayanthi in a romantic mood. The majestic Thodi piece (‘Kuvalayavilochane’) in slow tempo energised the situation. With the metaphors – moon, spring season, bees, love birds, sprouting of plants and blossoming of flowers – the Poorvikalyani piece (‘Saamyamakannoru’) enhanced the ambience of the rasa.
The scene from the play ‘Balivijayam’, with Narada and Ravana on stage, was chosen for the rasas Veeram (valour) and Haasyam (ridicule). Here the bravery and courage of Ravana who lifted Mount Kailas and won the sword Chandrahaasam from Lord Siva was enacted. The manipulative Narada goading an enthusiastic Ravana to take on Bali only to suffer humiliation and embarrassment formed the comical part.
The scenes for Karunam (pathos) and Athbhutham (wonder) were from the play ‘Lavanasuravadham’. Sita is living in sage Valmiki’s ashram along with her sons Lava and Kusha. The horse that was a part of an Aswamedha yagna being performed by Lord Rama was captured by his sons. Hanuman tries in vain to retrieve the horse and is handcuffed by the brothers. The surprise on the face of Hanuman on seeing the teenagers’ heroics and the astonishment on the face of Sita on seeing this displayed Athbhutha rasa. Sita soon becomes emotional, showering compassion on Hanuman. The Punnagavarali raga (‘Hantha Hanumane’) gave the needed impetus for the portrayal of pathos.
‘Duryodhanavadham’ was presented to showcase the remaining rasas – Bhayanakam (fear), Bheebhathsam (disgust), Roudram (fury) and Shaantham (tranquillity). The game of dice between the Pandavas and the Kauravas, the defeat of the former and their exile to the forest, disrobing of Draupadi, Lord Krishna’s role as a messenger and revealing of his cosmic form, His advice of the philosophical as well as the psychological text Gita to Arjuna and the killing of Duryodhana and Dussasana comprised the story.
All the actors played their part well, but special mention has to be made of Rajasekhara Panicker (Narada) and Kalanilayam Gopi (Hanuman) for their outstanding performances. Mellifluous music and controlled orchestra enhanced the whole show. The programme was organised by Thiranottam, a cultural outfit.
