Amongst the four Kathakali plays of Kottayathu Thampuran, Bakavadham alone can command a structural deviation identified with the conceptualisation of a character like Aashari or Khanakan (carpenter-cum-mason).
Kalamandalam Krishnankutty Poduval, a legendary chenda artiste, has penned his recollections of the Aashari, a masterpiece of Kariyattil Koppan Nair, on the Kathakali stage. Poduval’s portrayal sheds light on Koppan Nair’s discreet treatment of lokadharmi (realism) in the role of Aashari, which had invariably left an indelible impression on viewers. In the latter half of the last century, Nelliyodu Vasudevan Namboodiri reinterpreted the character concerned and enriched it with witty overtones.
Peesappilly Rajeevan, a Kathakali artiste, recently made a successful attempt to further redefine the role of Aashari with a perceptible accent on Natyadharmi (stylisation).
In a three-day Kathakali festival in Thrissur, Sadaramayi, organised as a tribute to Kottayathu Thampuran, Rajeevan’s presentation of Aashari was noted for its overall freshness both in approach and treatment. The aharya (make-up and costuming) of Khanakan/Aashari looked more like that of a Doothan (messenger) in Kathakali although the details of the facial make-up and the uduthukettu (billowing skirts) were not the same.
As Khanakan stealthily entered the Arakkillam (residence of the Pandavas in the forest, which was made of lac), Bhima easily intercepted him. The very entry of Khanakan was dramatic and his nervousness in front of Bhima was the right mood for the situation.
Rajeevan, right from his self-introduction as a Khanakan deputed by Vidura, retained the expression of fear as the dominant mood. Apprehensive of Purochana who was guarding the Arakillam, it wasn’t easy for Khanakan to tell Dharmaputra that he would dig the earth and make a tunnel for the Pandavas to escape.
Rajeevan’s internalisation of even the minutest sanchari (transitory) bhavas of the character can be linked to his predisposition towards the aesthetic insights of the late Vazhenkada Kunju Nair, whose imagination was invariably associated with the received text of the play. It is for the same reason that the actor abstained from the triteness of the oft-repeated actions of Khanakan cutting down a tree and working on it. The kalasams (pure dance segments) he performed during the course of the padam, including the atakkam (a version of kalasam) and the thongaram (yet another version of a kalasam), were precise to a fault and sans any comic traits.
In a short improvisation during the dialogue portion between Dharmaputra and Khanakan, the former informs the latter of the need to keep back the bust of Lord Krishna at the Arakkillam. Rajeevan as Khanakan then retorts that Lord Krishna may better sojourn in the mind of Dharmaputra rather than outside as an external object. After the recital, a disenchanted connoisseur asked this writer whether Khanakan had any moral or ethical right to cross the boundaries he has been assigned to.
Fragments of hilarity
Rajeevan’s Khanakan, although in tune with Natyadharmi for the most part, did not have an aversion towards humour, which is more often allied to Lokadharmi. His reactions to the words of Bhima bore fragments of hilarity.
Haripirya Nambudiri performs a cholliyattam as Lalitha
Preceding the performance of Bakavadham , Haripriya Nambudiri did a cholliyattam (recital without make-up and costumes) of Hidimbi disguised as Lalitha, the enchantress, overcome with love and lust towards Bhimasena. The slow tempo (56 beats — Adanta tala), execution of hand gestures and expressions by Lalitha is a challenge to any aspiring Kathakali artiste. Haripriya strikingly did both the angika and the satwikabhinayas in seamless sync with the meaning of each and every word.
Kottakkal Madhu, lead vocalist, sang the slokams and the padams in harmony with his characteristic fluency and tonal flexibility. Percussion by Sadanam Ramakrishnan, Sadanam Bharatarajan and their team infused appropriate bhavas.
The programme was organised by the Cherpu Kathakali Aswadakavedi.
