Dramatic confrontation

Ranjini Suresh and Chambakkara Vijayan delineated their characters with aplomb at a staging of Ravanavijayam Kathakali in Kochi

(Left) Ranjini Suresh as Ravana and Chambakkara Vijayan as Rambha in ‘Ravanavijayam’

The highlight of Kareendran’s acclaimed Kathakali play,

Ravanavijayam , is the stirring encounter between king Ravana and the celestial beauty Rambha, who is on her way to be with her lover, Nalakubara, son of Kubera. Visualisation of the literature of the play replete with romantic images is no mean task, even for veteran male actors who wield the role of Ravana. Recently, Ranjini Suresh, who is proficient in portraying anti-heroes in Kathakali, performed the role of Ravana at a recital at TDM Hall, Ernakulam.

Ranjini executed the ‘thiranokku’ (curtain-look) of Ravana at the outset with precise eye and hand movements. Kalamandalam Vipin’s enactment of the Dootha (messenger) of Kubera conveying the latter’s concern over the misdeeds of Ravana exuded warmth. Ranjini unequivocally expressed the raging reaction of Ravana resulting in the killing of the Dootha. The scenario then shifted to a state of serenity. Ranjini showed Ravana’s repose and him rejoicing at the beauty of the moonlit light that ignites tender feelings in his heart. Ranjini could have made the first encounter between Ravana and Rambha a little more dramatic.

Her prudence was however visible in the execution of each and every gesture accompanied at times by the ‘ulachil’ (gentle sway of the body to both sides) and the kalasams (unit of dance). In the ‘padarthabhinaya’ (enactment of meaning of each word) Ranjini did her best to bring out the beauty of the images such as equating Rambha to the golden-wire immersed in the Kalindi river. However, as an actress, it seemed, she had difficulty in presenting the sringara rasa.

Kalamandalam (Chambakkara) Vijayan as the well-adorned Rambha was temptress incarnate. More than angikabhinaya (gestures, body movements), Vijayan excelled in netrabhinaya (eye expressions). He forcefully presented the discomfort of Rambha whom Ravana threatens in the guise of sweet exhortations. The actor could have but spared the transparent blue-colour urumaal (head scarf), which looked gaudy throughout.

Ravana’s padam, ‘Parabhritamozhi’ (one whose words resemble those of the cuckoo) was elegantly visualised. The concluding part in which Ravana sexually assaults Rambha is very much an embarrassment to the codified framework of Kathakali. Even the legendary actors go overboard in dealing with it. But Ranjini handled the scene with equanimity much to the relief of the audience. The nalamiratti (specially choreographed dance denoting the closure of a certain scene/context) she executed was spick and span.

Vengeri Narayanan and Abhijith Warrier soulfully sang the slokams and the padams while Kalamandalam Sreehari and Kalamandalam Prasanth played on the chenda and the maddalam in perfect harmony. The performance was jointly organised by Ernakulam Kathakali Club and Karayogam.