To try and re-interpret the epic Mahabharat within a stipulated time frame is a task most daunting; the canvas is almost cosmic; the characters are multi-dimensional; the epoch war has been depicted as enormous by Ved Vyas. Kathak choreographer Shama Bhate’s theatre presentation “Ateet ki Parchhaiyan” takes a re-look at Mahabharat from a 21st Century bird-view and in doing so comes out with aplomb.
Using props like digitalised backdrops, evocative lighting, stage craft like soliloquy, teichoscopy and flashback technique, she also introduced a unique dance element – the convergence of seven dance styles with seamless ease.
The drama doesn’t unfold in the story-telling fashion; it unveils the conscience of crucial dramatis personae in the aftermath of the Kurukshetra war. It defies popular concept by omitting lord Krsna, Arjun, Bheem and others in direct reference; instead the focus is on Kunti, Gandhari, Draupadi, Karna, Bheeshma, Yudhishtira and Duryodhana. There are no dialogues, only voice-overs, song, music and mime, which go without saying that the characters come on stage to soliloquy which for most part is self-depreciatory. Each of them develops a hindsight and is repentant for his/her past actions in a given period of time.
Sole survivors of the ghastly war that leaves no progeny, these veterans mull over their fate, follies and foibles. As they re-create each of the circumstances in their mind’s eye, the audience is allowed a silhouetted glimpse of certain landmark events that led to a crucial change in their individual lives through teichoscopy technique which indeed was a beautiful tool to narrate in a nutshell and keep the flow of this otherwise voluminous epic story.
The seven dance styles included Odissi by Ramli Ibrahim (Yudishthara), Kathakali by Kannan (Bheeshma), Vaibhav Arekar’s ( Karna) Bharatanatyam, Duryodhana to Mayurbhanj Chhau by Rakesh Saibabu, Vyjayanthi Kashi as Kunti to Kuchipudi style, Mohiniattam dancer Gopika Varma as Gandhari and Kathak dancer Ameera Patankar as Draupadi. Group dancers provided relief, continuity, screen and substitution through footwork and mime which was a thoughtful piece of artistry.
The flashback technique worked well for more than one aspect. It was re-creating a distanced history almost mythology and the characters come on stage mostly one at a time and later together, shattered and mortified for the turn of events that led to a devastating war leaving nothing behind except live corpses (themselves). Each feels repentant, responsible, remorseful and recounts his/her role in taking things to their unnatural end. This was executed by the artistes mostly through mime to music. Lack of dance element from every genre on stage was amply compensated by Kathak dancers who flitted across the stage in group executing brisk footwork and chakkars, diverging and converging as the situation demanded.
While the Kathak group, apart from Draupadi formed the periphery, Chhau by Rakesh and troupe, who were centre stage actors, was the highlight of the evening with superb lightning movements and martial techniques in keeping with Duryodhana’s portrayal. Vaibhav Arekar as Karna displayed Bharatanatyam footwork but with his three-member group it was statuesque postures and moves that were more prominent. Others, going by their role had minimalistic dance movements to offer. Gopika Varma handled her character with maturity expressing anguish, angst to the point of cursing lord Krsna, all in a convincing manner. Vyjayanthi Kashi as Kunti had a lot to showcase by virtue of her role being pivotal, next to Draupadi in the scheme of things. She rose to the occasion while Ramli Ibrahim as Yudhishtara unconvinced of Draupadi’s veiled wifely love was able to convey his feelings to the audience without word or song. He was juxtaposed by Draupadi, beautifully donned by Ameera who ponders over the efficacy of Yudhishtara love and duty towards her. The silent accusations standing parallel to each other gave a dimension to the scene. Bheeshma was the only character whose monologues and self-blame did not go with this gigantic grand sire whose calibre and character were pronounced by Ved Vyas as impeccable and blemish-free. To judge him by our standards and attribute a stream of mundane thoughts was not at all in keeping with the original character as etched out by Vyas.
Re-interpretation should be within the original framework of the epic and not attempt at things that distort the basic qualities vested in the character. Lighting and music more than enriched this rich tapestry which glows with the presence of the superhuman Krsna who is a referral point all through. A finer production on Mahabharat with an artistic touch is yet to be seen.
