Ideology, they say, is indispensable in any society if men are to be formed, transformed and equipped to respond to the demands of their conditions of existence. The fact remains that however supreme or infallible an ideology may appear to those who are indoctrinated, no single ideology is a panacea for setting the society right. It needs to take elements of diverse thoughts into count and only such robust combination can truly script and bring about a meaningful social change making the society a just and better place to live in. With this being its focal point, a well-knit social play Jalatarangini evoked warm response at Kalabharati, Visakhapatnam.
Taking contemporary scenario of ideological variance between ballot and bullet to usher in a welfare society for its canvas, noted writer Yendamuri Veerandranath deftly juxtaposed moderate and radical schools of thought through down to earth characters. With his trademark streak of black magic and nifty adaptation of Brecht technique of alienation that distances the audience from emotional involvement in the play through jerking reminders of the artificiality of the theatrical performance, it was a thought provoking narrative unfolded on the stage in a gripping tempo.
The narrative revolves around Santhi and Chaitanya. While the former stands for constitutional means for transformation of society, the latter symbolises radical approach to the same. Both hail from almost similar background of middleclass families. Santhi rose to be the legislative head of the government and Chaitanya becomes the head of a revolutionary outfit. With all options of government to check the radical movement going kaput, Santhi personally steps into forest to encounter Chaitanya.
Obviously, Chaitanya too does not want to let this opportunity that came to doorstep miss to finish off the political head of corrupt dispensation. They accost at Bhairagi Satram, where a Bhairagi practices witchcraft. They are surprised to see each other after a long time and turn nostalgic sharing their close camaraderie in childhood. A question that ensues on the virtues of each other’s viewpoint fails to break the ice and they remain stuck to their guns.
Bairagi intervenes and ask them to swap their places and try their respective agendas. Also, he affects a transmigration of their souls in to each other’s frames towards this end. After a big dose of dramatic twists and turns and loss of close confidants, both realise the limitations of their respective ideologies and leave it society to sort it out on its own.
The performance was so taut that it was how rather than what it was staged stood out. The set design and shifting scenes in its partitioned spaces helped maintain the tempo well. The cast has displayed good team spirit and commendable histrionics. Nookada Uma Maheswara Rao, Saragadam Satya Rao, Bhisetty Chandrasekhar, Kaki Suribabu, Sivajyothi and Pentakota Gunaramana who directed it, took part. Nataraja Dramatic Association Pendurthi staged it under the aegis of Rangasai Kala Peetham.
Earlier, the Peetham warmly felicitated Sripada Venkanna, K.V. Ramana Murthy and P. Jagannadharao in recognition of their services to art and culture in the city.
