An eminent theatre practitioner of Kerala, Chandradasan’s works have received critical acclaim in Delhi in the past. His latest offering “Kaali Naadakam”, which featured at Mahindra Theatre Festival recently at Shri Ram Centre, is an experimental theatrical piece that aims to infuse ritualistic theatrical form with modern sensibility. An engrossing production, it imparts a new dynamic to mythological narrative blending highly stylised ritualistic style of presentation with realistic portrayal depicting contemporary repressive social system plagued by the dominance of patriarchy and evil of caste system.
Presented by Lokadharmi, the play is written by Sajitha Madathil who also plays the lead role of Kaali.
Fight to finish
The playwright has chosen the format of a drama-within-the drama with the action set on the lawn of a temple. The community is enthusiastically waiting to watch the mythological narrative about a fight to finish confrontation between Goddess Kaali and demon Darikan, who possesses invincible prowess. Drunk with his indestructible physical strength, he is perpetuating atrocities on vulnerable humans as well gods. The terror-stricken people and gods pray to Goddess Kaali to protect them. Having unshakable belief in mythology present-day devotees of Goddess believe that the performance of Kaali Naadakam will protect them from evil forces and bring peace and prosperity to the community.
A local group is organizing the mythological play for the community. Some years ago this drama was abruptly ended on a tragic note. After the lapse of several years, the group has organized the event on a big scale. Local police have arrived on the scene to maintain law and order and so does a lady TV anchor with her crew. In the midst of excitement starts the drama about the struggle between good and evil aiming at establishing the rule of Dharma.
A scene from “Kaali Naadakam”
The stage is aptly designed to capture the milieu of a temple visited by devotees. Upstage a passage is created by using curtains to facilitate the smooth exit and entry of performers. Right upstage a raised platform is used to provide space for singers and instrumentalists.
Though the director has mainly followed the ritualistic and realistic style of presentation, he has also tries to break the fourth wall concept by enacting emotionally charged brief sequences on the auditorium in the midst of the audience.
To the accompaniment of instrumental and vocal music, the performers playing the role of Goddess Kaali and Darikan enact fight scenes armed with deadly weapons, evoking a tense atmosphere. In his combative manoeuvres, Darikan proves to be powerful enough to be destroyed by Goddess Kaali. Darikan goes backstage, a tired Goddess sits alone on the stage. Her assistant comes to her and offers a glass of water to drink, beseeching, “Mother, kill the wicked who has raped a number of women and was acquitted by law enforcing agencies.” Goddess Kaali stands up with renewed energy with fierce expression, flaunting her weapon, dancing on the stage frantically and rushes backstage. In this highly tense atmosphere, we hear cries that she has killed the actor playing the role of Darikan.
Media’s role
The production exposes the media for resorting to sensationalism and the police for their superstitious belief and their timidity in handling a murder case wrapped in the mythological drama. The murder of the actor in the role of Darikan, who is alleged to be a rapist, by co-actor performing as Goddess Kaali is premeditated or committed in trance and is characterised by ambiguity. An insight into the motive of the murder would have imparted a contemporary perspective to a mythological narrative.
Madathil plays the role of Goddess Kaali with tremendous vitality and conviction, enacting highly stylized movements as if she were in trance. Zumesh Chitooran as Darikan proves himself as a brilliant actor to play mythological character, exuding immense energy and morbid prowess.
