Eloquent gestures, voices which had a rich tonal quality, majestic and arresting, songs rendered soulfully at a high pitch, sterling individual performances, flawless narration, group singing rendered enjoyably with involvement, grand costumes – these were on conspicuous display at the seminar and festival of Therukoothu of Tamil Nadu that was held at Punjarasantangal Village in Kanchipuram.
As many as a dozen groups participated in this festival and two performances chosen randomly, are reviewed here. The first, ‘Krishnan Thoodu’ was enacted by Therukkoothu Payirchi Manram, Krishnagiri, led by Shanmugam.
The Pandavas have completed their 13-year exile and request Krishna to negotiate with Duryodana to obtain their share of the kingdom. Krishna gathers the opinion of the Pandavas and it is Sahadeva who is bitterly critical of his ways and even wants Krishna to be ‘disabled’ so that the issue would be resolved without further delay.
But is it possible to disable Krishna? He is everywhere, in every form and in every being. Sahadeva realises this and finally Krishna agrees to meet Duryodhana. He is badly treated and the battle of Kurukshetra becomes inevitable.
What stood out was the imaginative and inventive approach of the troupe - the awesome Bhima quickly changing himself to don the role of Duryodana, Krishna’s seemingly democratic attitude that camouflages an astute mind, the Pandavas never willing to compromise their vows and many such.
The second was the story of Ravana’s son, the mighty Indrajit. His predicament is born out of his desire to delay Ravana entering the battlefield. Indrajit enters the war and his enormous powers bring down Lakshmana. He recovers thanks to Hanuman, who brings the Sanjivi hill. (This scene was enacted exquisitely by Hanuman and company through exemplary body language.)
Indrajit’s poser to Vibishana runs thus: “Oh! Uncle! You have joined the enemy’s camp. Assuming Rama completely destroys Sri Lanka (and not an asura is left living) whom will you rule over? A Raja sans Prajas.” He sneers. And then he turns to Lakshmana: “Oh! Lakshmana! If Surpanaka had a liking for Rama, it was nothing abnormal and if Rama had no amorous intentions, he could have communicated this to her. Instead he orders you to deface her. Now when the angered Ravana takes Sita away, you raise a hue and cry. Is this correct?” Interesting interpretations indeed.
Straight and serious, ‘Indrajit’ had its high moments of histrionics, especially where the women folk try their best to make Ravana “return” Sita and thus avoid the war and bloodshed. This koothu was by Purisai Kannappa Tambiran Paramparai Therukkoothu Manram, Purisai, led by Purisai Sambandam.
The Festival also had engaging discussions during the morning sessions where the previous day’s plays became the matter of debate; each group also talked about its journey from “Tradition to Transition.” The orchestra was in the form of chorus group singers and the accompaniments saw thrilling exploits on the Mukha Veena, the Mridanga Tabela (two mridangams one held and played perpendicular to the other) and the Petti (harmonium played with both hands using pedal bellows). While the Kattiyangaran (narrator) belonged to the conventional mode for Indrajit, it was more a jester for the first Koothu, Krishnan Thoodu. For these men recapitulation was an art in itself.
What singularly impressed this rasika above all else was the “acting” of those men who donned the roles of women. The graceful gait and profound sobbing were incredibly feminine.
This major event on Theru-k-koothu planned with the help of well known experts was organised by Sangeet Natak Akademi, with V.R. Devika as coordinator and was held from March 15-21.
