In its Therukoothu version, a Shakespeare classic evoked a theatrical experience that was at once visceral and refreshingly unique.
‘Macbeth’, presented in Therukoothu form recently at the Alliance Francaise by city-based troupe Thalai-k-Kol, managed to infuse a sense of novelty to a well-known play through an engaging mix of animated performance, light effects and a live score.
The play, which allies traits of Therukoothu performance with elements of modern dramaturgy, begins in explosive fashion, with a medieval Scotland battleground scene where a victorious Macbeth is returning along with his aide Banquo. Here, the duo encounter the three witches who prophesied his destiny to be king.
The enactment devotes some detail to a few pivotal scenes that are still a reference point for scholarly analysis of power-lust, politics and psychological manipulation, and their invariably tragic consequences. Particularly riveting is the build-up to the regicide where a scheming Lady Macbeth works on the mind of her husband.
The killings do not stop, as each murder leads to another until Macbeth has turned full-blown paranoid. There were a few scenes, including the depiction of Lady Macbeth’s descent into insanity, that showcased the best of the Therukoothu histrionic tradition.
One of the standout scenes as far is the depiction of the army of vengeance-vowing opponents who use the Birnam boughs as camouflage to reach Macbeth’s castle, a fulfilment of one of the two prophesies that Macbeth would rule until the time Birnam wood moves to Dunsinane Hill. The augury that he can never be killed by ‘anyone of woman born’ would be reconciled when the slaying is carried out by Macduff who was birthed in Caesarian section.
Barring the occasional slip in dialogue delivery, the 16-member all-male cast produced a performance that encapsulated just why this ancient form of Tamil theatre once had such a hold on the public imagination.
For a troupe that is at home adapting the works of European masters in Therukoothu form such as Moliere’s ‘George Dandin’ and Jean Paul Sartre’s ‘The Dirty Hands’, this was the first full-fledged Shakespearean adaptation — though the group has performed the play, ‘Shakespeare Alone’ it was more as experimental theatre and not based on any of the Bard of Avon’s repertoire.
Artists of Thalai-K-Kol performing the play ‘Macbeth’, in Therukoothu style, at the AFP Aditorium in Puducherry. | Photo Credit: S.S. KUMAR
“Scripting for this play was a challenge as the dialogue had to blend a style of the vernacular integral to street theatre and yet evoke the vibe of an ancient era”, says V. Arumugham, founder-director of Thalai-k-Kol.
Another lingual challenge was to do justice to Shakespearean literary grandeur while translating to Tamil some of the famed quotes definitive of his works, such as the immortal line, “All the perfumes of Arabia.... in Macbeth”, said Mr. Arumugham, who hails from a family of Therukoothu exponents and is a former professor of the School of Performing Arts, Pondicherry University.
In a span of over three decades, Thalai-k-Kol has assembled five generations of artistes and put together a diverse oeuvre, and taken their theatre acts to several countries. Its repertoire ranges from Therukoothu adaptations to experimental theatre.
Mr. Arumugham, as a performer and leader of the Therukoothu group, has popularised traditional theatre at the Festival of India in France (1985), Sweden (1987) and Festival de I’imagenerie at Paris (1997). He has also given over 100 solo Therukoothu performances in U.K, USA, France, Germany and Switzerland.
Among his best known works are ‘Karunchuzhi’ (The Black Whirl) and ‘Oosi’ (Needle) that explored the boundaries of props-driven theatre. ‘Macbeth’ was conceived and performed on a grant of the Sangeet Natak Akademi under the Ministry of Culture. In addition to the theatrical productions, Thalai-k-kol is also engaged in digital documentation of rituals and folk performances, its founder said.
