The architects of Koodiyattam, the Sanskrit theatre tradition that survives only in Kerala, is the Chakyar community for whom the performance of the art form is ‘Kuladharma’ (family duty). While the works of various well-known poets have remained the mainstay of this art form, it is surprising to note that the Chakyars have been less enthusiastic about the works of Kalidasa, who is popular across the globe.
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It was Koodiyattam exponent G. Venu who broke the norm and performed Kalidasa’s Abhignanasakutalam in 2003. The worldwide recognition it received encouraged Venu to stage the first three Acts of Vikramorvasiyam.
Recently, Sooraj Nambiar, an ace performer and a disciple of the maestro Ammannur Madhava Chakyar sprang a surprise by presenting the fourth Act — for the first time in the history of Koodiyattam. With experience of over three decades in this art form, Sooraj premiered his production Unmatha Vikraman at Natanakairali, Irinjalakuda.
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Sooraj Nambiar in Unmatha Vikramam, staged at Natanakairali, in Irinjalakuda on April 6, 2024. | Photo Credit: Special Arrangement
The two-hour solo play was an exposition of Sooraj’s histrionics as well as his dexterity as a choreographer.
The play revolves around episodes that follow the separation of Urvasi and king Pururavas. It shows how the despondent king wanders in the forests in search of her. He mistakes the lightning and dark clouds for a demon who has abducted Urvasi. Rains appear like a shower of arrows to him. Enraged, Pururavas begins to throw soil at them. But soon realises it is monsoon time and calms down.
While journeying through the forest, Pururavas enquires about Urvasi from peacock, cuckoo, swan, elephants and the river. All of them seem to be indifferent to his queries. Finally, he finds the Samgamaniya gem (formed from the juice of the hibiscus flower that flowed from the feet of Parvathy) among the rocks. Legend has it that this could be instrumental in his reunion with Urvasi.
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Pururavas next hugs a vine thinking it to be Urvasi. The divine power of the gem immediately transforms it into Urvasi, who carries the king to the cloud.
Sooraj impressed with this creative portrayals. A scene from his debut production, Unmatha Vikramam’, which he performed at Natanakairali in Irinjalakuda on April 6, 2024. | Photo Credit: Special Arrangement
Sooraj’s experience and creativity came through during the section where he interacts with the animals in the forest. While the unique technique of ‘pakarnattam’ in Koodiyattam is usually employed for the portrayal of multiple characters by the actor, here it served to represent animals and birds. The peacock dance appeared majestic. Impressive were the antics of birds, insects, animals and the river.
Sooraj’s choreography deserves special mention. The swara (raga) artham was selected for ‘moolal and paadal’ (humming and singing) during the pravesakam (entry) of the hero to describe his mood. Also, the jumping on one leg was an unusual way to convey the emotional turmoil of the king.
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Sooraj Nambiar performing ‘Unmatha Vikaramam’ at Natanakairali, Irinjalakuda on April 6, 2024. | Photo Credit: Special Arrangement
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For the chari (gait) of the peacock, the indigenous rhythm of marma was employed, which enhanced the appeal of this scene. Mizhavu artistes Kalamandalam Rajeev and Kalamandalam Hariharan need to be credited for choosing this.
The performance concluded with the customary ‘Mudiakkitha’.
The team also comprised Kalanilayam Unnikrishnan on the edakka and Saritha Krishnakumar on the talam.
‘Unmatta Vikramam’ was the first in-house production presented under the auspices of Tripudi, the new cultural outfit, formed in memory of Sooraj’s grandmother Brahmani Pattu artiste Savithri Amma.