Reign of the anti-hero

Kalamandalam Pradeep enthralled the audience with his nuanced portrayal of Ravana in ‘Balivijayam.’

July 07, 2016 12:21 pm | Updated 12:21 pm IST - Thiruvananthapuram

Kalamandalam Pradeep as Ravana in 'Balivijayam' Kathakali organised by Bank Employees Arts Movement Ernakulam (BEAM) at TDM Hall in the city. Photo : Thulasi Kakkat

Kalamandalam Pradeep as Ravana in 'Balivijayam' Kathakali organised by Bank Employees Arts Movement Ernakulam (BEAM) at TDM Hall in the city. Photo : Thulasi Kakkat

‘Balivijayam’ of Kalloor Namboodiripad is noted for contrasting characteristics of its two main protagonists, Ravana and Bali. The connecting link between them is sage Narada. The play was presented at T.D.M.Hall, Kochi, recently in front of a packed audience.

Kalamandalam Pradeep, an incredibly industrious actor, enacted the role of Ravana.

The play began with Narada coming down to Lanka, playing his veena and praising the glory of Ravana. Pradeep as Ravana was expressive in reacting to the eulogies by Narada.

When the sage addressed the King as the spouse of Mandodari, Ravana becomes bashful; when he praised Ravana as one who defeated and imprisoned Lord Indra, Ravana is at the peak of Veera rasa, accentuated by nerve-racking yelling with his fangs out; when addressed as brother of the ever sleeping Kumbhakarna, Ravana’s head is bowed in disgrace.

Pradeep excelled in unfolding the story of the divine sword, Chandrahasam, before Narada, who pretended that he did not know the story in detail.

The well-known pieces of manodharmas (structured improvisations) – ‘Kailasodharanam’ and ‘Parvathiviraham’, were depicted to drive home the desired impact. While ‘Kailasodharanam’ was relatively compact, the second one was a bit too lengthy because of Pradeep’s multiple impersonations as Lord Shiva, Parvati, heavenly beauties, Ganapathy and Subramanyan.

The actor’s articulation through upangas, however, enthralled spectators in no small measure. Pradeep took a lot of freedom in his portrayal of ‘Parvathiviraham.’

As Narada, Sadanam Vijayan was well-balanced. By magnifying the power and prestige of the demon-king, often sarcastically, Vijayan’s Narada was not a comic character but he always reminded the spectators of his mission to humiliate Ravana, comparing him to the mighty Bali.

Kalamandalam Arun Kumar as Bali exuded abundant energy in his thantetaattam (self-appreciation).

The audience could feel the prowess of Bali as one who had churned Palazhi (the ocean of milk) all alone, when the Devas and the Asuras grew tired half way. Seeing the 10-headed Ravana accompanied by sage Narada, Arun Kumar as Bali took to ashtakalasam (a distinctive choreography in chemba tala), which endeared him to the audience.

Save for Nelliyodu Vasudevan Namboodiri, usually, no actor in the Kalluvazhichitta performs ashtakalasam for Bali. Pradeep once again proved his acting calibre by showcasing Ravana’s fear seeing the huge figure of Bali at close quarters and again towards the end, his endless remorse over what he did.

Kalanilayam Rajeevan and Sadanam Jyothish Babu sang each sloka and padam with an unusual vitality, adhering to the kalarichitta. Kalamandalam Krishnadas, impressively assisted by the maddalam player Kalanilayam Manoj, displayed on the chenda, the majesty of Ravana and the solidity of Bali. The swaras he created on the chenda while Ravana was on his way back to Lanka in the Pushpaka vimana, the flying chariot, was an aural feast. Also, the synchronisation between the kalasams of Pradeep (Ravana) and the urulukai of Krishnadas was astounding.

The play was presented under the auspices of cultural organisation BEAME.

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