He dons an impressive headgear, colourfully embellished with tassels and beads. His face has been painted yellow, with varying shades of red, near the eye and lips. He sports a thick, dramatic moustache. On the makeshift stage, he hops about in circles; arms flailing at his sides. He is narrating an episode from The Mahabharata . This is what therukoothu appears to be, to an unaware audience. The effort that goes behind devising a night-long performance, is however more than what one sees on stage. At this introductory workshop on therukoothu , actors and enthusiasts alike will get a glimpse of what makes this ancient form of art and how it still thrives.
“We will be introducing the participants to a few basic steps ( adavu ) and also the entry of each of these characters. For instance, how does the narrator enter? If a character is furious, he would enter in a certain manner. Same goes with a character who is excited or calm. The way they enter is very important. In addition, we would also be talking about the role of a female character in the traditional performance,” says Palani, who will be leading the workshop. He is a student of his uncle, therukoothu master Purisai Kannappa Sambandan. “At least 10 movements will be taught. And how these steps or movements are later strung into a choreography, will also be shown,” he continues adding that the theory of the structure will be briefly touched upon.
Palani’s grandfather, Kalaimamani Purisai Kannappa Thambiran was a pioneer of the form. In the village, their troupe Purisai Kannappa Thambiran Paramparai Therukoothu Manram conducts 20-day workshops every year, where participants reside with the artists to learn. The group is currently preparing to tour Europe with a therukoothu production, Little Mahabharata , in collaboration with a French theatre company.
There is a defined structure to a therukoothu performance which even the audiences need to have an inkling of in order to follow, says Palani. Which is why, the workshop invites people who do not want to perform but are still enthused about the form. But how long does it usually take for a performing artist to learn the form? Palani replies that that to understand the medium and the characters in detail, even a seasoned actor would need close to five to six years.
The fact that in this form, the cast and crew are often interchangeable, adds to the process. So, an actor is expected to have an overall idea about the making of a performance. After performing their roles, they will often be in the backstage, sustaining the rhythm, helping with the costume or even playing minor roles who do not appear on stage. The choral or commentary bits, which often accompany the songs, are done by the actors themselves.
The introductory workshop on therukoothu , is organised by Theatre Akku and will be held in AICUF House, Nungambakkam, on November 3, 9.30 am to 6.30 pm.
