Of tigers, language and ethics

A scene from a social drama 'Maaku o rojundi'. Photo:C.V.Subrahmanyam

A three-day Akkineni Natakotsavam saw an enthusiastic participation of different troupes at Kalabharati Visakhapatnam. Most of the plays sought to weave drama against the backdrop of middle class issues rather than a point of larger relevance of common good. With festive spirit and camaraderie thick in air, the artistes were at their enthusiastic best and the performances were remarkable for their uncluttered enactment.

The inaugural play Maakantu O roju — a day for us — gave a good start for the fest. Strong characterisation and taut treatment, besides terse and piquant dialogue coupled with good histrionics, ensured its point was driven home straight. Simple yet effective stage props further heightened its appeal. Dalaiah, the protagonist, was an ace folk artiste whose family calling was puliveshalu - playing the tiger. Dalaiah’s father was granted a two acre dry land by government in appreciation of his exceptional mastery over the art form.

The play opens with Dalaiah imparting the intricacies of

pulivesham to his son Kittamurthy. Though it was a seasonal performance, he takes it as his full time occupation sustaining his family with meager produce from the land. His son prefers higher studies to the pursuit of family calling and asks his father to sell the piece of land to meet his educational needs but Dalaiah refuses to do so and convinces the son of the importance of having to own a piece of land in life and his attachment to it, for its bond is no less emotive than that of mother and child.

However, with the prospect of a SEZ being declared in the region Rayudu, a local bigwig eyes the land and tries every available means at his disposal to see that Dalaiah parts from the land. Finally unable to bear Rayudu’s hegemony any further; Dalaiah’s family rises in revolt and kills him enacting the ferocious tiger in their

pulivesham dance. Artistes of Govada-based Likhita Sai Sree Creations staged it. Dandu Nageswararao scripted it and Subrahmanya Satish directed it.

Another play Talli pala ruchulu dramatised the neglect of Telugu language in school curriculum, the craze for English medium and its adverse emotional fallout of not developing roots in one’s native culture. Staged by the artistes of Repalle-based Sri Gurumitra Kalasamiti it stood out for its robust passion for mother tongue. The third one Sakshyam Akkarledu dealt with hardship of an official who has to face heavy odds for being honest in discharge of his duties; the fourth one Varni Adaa Vishayam was hilarious romantic comedy. Hyderabad-based Kalaraadhana presented the former and the latter was enacted by Sri Murali Kalanilayam another troupe from Hyderabad.