‘Ascharya choodamani,' authored by Saktibhadra, the Chengannur-based legendary dramatist, a contemporary of Sri Sankaracharya, is, perhaps, the most stage worthy and the most enacted Sanskrit play, thematically related to the Ramayana. The names of the seven acts in ‘Chudaamani' are clues to its contents: ‘Parnasaala' (The hermitage), ‘Surpanakha, Maayaasita' (Illusory Sita), ‘Jataayuvadham' (The slaying of Jataayu), ‘Asokavanika' (The garden of Asoka trees), ‘Amguliya' (The finger-ring) and ‘Agnipravesa' (The Fire-entry).
Among these, the acts that are usually enacted are ‘Surpanakhaankam,' ‘Jataayuvadham,' ‘Asokavanikaankam' and ‘Amguliyaankam.' Traditional performance manuals (Aattaprakaaram) were available only for those four acts. The founding father of Margi, D. Appukuttan Nair (1924-1994), successfully persuaded Guru Ammannur Madhava Chakyar (1917-2008) to complete the onerous task of providing, in the traditional style, performance manuals for the remaining three acts too.
Consequently, the potential repertoire of Margi acquired an enhancement of not less than 100 days of acting of ‘Choodamani.' The artistes of the Koodiyattam Department of Margi staged the whole play twice!
Impressive comparison
Recently, Margi presented the first and second day of the ‘Sthaapana' (Prologue) of ‘Parnasaalaankam.' The role of Sutradhaaran was donned on the first day by Akhil and on the second day by Raveendran. Sindhu enacted the role of Nati. The orchestra consisting of mizhavu, thimila, edakka and taalam and the make-up were handled expertly, as usual, by the Margi team.
An impressive comparison between Lord Vishnu and the ocean is embedded in the benedictory quatrain. The Sutradhaaran's dialogue with the Nati reveals his unshakeable confidence in ‘Chudaamani's stage-worthiness. He convinces her that the then popular belief that flawless plays will not appear from the South is hardly tenable.
The verbal text of the play, with its various intricacies on account of figures of speech and poetic conceits, is interpretively recreated in the visually perceivable language of acting that involves all aspects of its potentiality. Gestural-cum-kinemic and emotional acting expressive of mental states is duly reinforced by appropriate effects of accompaniments, make-up and costumes. This is the essence of aesthetic pleasure in Koodiyattam. The presentation of Margi was laudable from this fundamental principle of artistic enjoyment.
