Kailasodharanam and Parvatheeviraham are two connected episodes from Bhasa’s play Thoranayudham . The lead character is Ravana, who, in the beginning, is seen in a pensive mood, hearing about the rampage caused by Hanuman at Ashok Vatika, his palace garden.
He remembers the incident when he lifted Mount Kailasa, coinciding with a disagreement between Shiva and Parvati. He wonders whether their curse was having it effect on him. A Koodiyattam performance of the episodes was held in the capital city.
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The incidents are narrated in flashback and the actor’s calibre, for his abilities to make switch-over between the characters and their emotions, is put under test here.
The first episode, Kailasodharanam , unfolds when Ravana returns to Lanka after defeating Vaisravana and takes possession of his flying chariot. The chariot needs to pass Mount Kailasa but the mountain ignores Ravana’s orders to move aside.
Kalamandalam Sangeeth Chakyar presented the mountain-lifting sequence with élan, starting with providing a visual tour of the mountain. The valour of the demon king and his arrogance, was neatly presented by Sangeeth throughout the sequence. fter a few failed attempts, Ravana succeeds in lifting the mountain, rests it on his chest and then throws it away.
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The segment presents Ravana as an epitome of valour and the percussion proved top-notch in matching the scenes. Kalamandalam Ravikumar and Kalamandalam Sajikumar were effective on the mizhavu, while Kalamandalam Sudheesh complimented the duo aptly on the edakka. The team efficiently captured the transitioning moods of romance. Margi Usha was on the talam.
While Ravana lifts and throws the mountain, Shiva and Parvati are seen having an argument over the presence of Ganga on his head. What began as a minor doubt at the beginning escalates to a point where Parvati decides to leave Shiva and go to her father. At that moment, the mountain starts to shake, forcing Parvati to rethink and she reunites with Shiva.
Sangeeth Chakyar did well in these portions too, switching between the roles of the husband and the wife. The bhavathraya (showing three different moods in quick successions) was also presented well. However, if the actor had presented the progressive anger of Parvati with more involvement, it would have been more convincing.
Ravana was only showing his arrogance, but as the outcome was in Shiva’s favour, he presents the former with a mighty sword and blesses him. However, Ravana was too proud to accept the boons from Parvati and Nandi, prompting them to curse him instead. As Nandi was ridiculed, he curses Ravana that a ‘monkey’ would cause his ruin.
The play concluded with the actor returning to the original state of Ravana in the pensive mood.
The programme was organised by SNA Kutiyattam Kendra.