Kalivesham
3rd March, SRI RAM CENTRE, 4:30pm
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Produced by: Sopanam Language: Malayalam Duration: 1 Hour 30 Minutes |
A play based on the famous Kathakali story “Nalacharitham” – an interpretative extension of the puranic theme, which focuses on the life experience of an actor who is known for his role of Kali. In the epic theme, King Nala is the protagonist who gets possessed of Kali, the evil character. The text of this play provides a context in which Nata (Actor) instead of Nala is the protagonist. There is an interaction of three characters Nata, Kali and Nala. Kali has no physical existence. His presence can be manifested only through Nata (actor). When the Kathakali theme makes its renewed passage to the contemporary theatre it presents to us a thought process, which forms the very basis of the art of transformation in theatre. Is it incumbent on the part of the actor to be subservient to the role, which he enacts? Is it not the basic tenet of the art of acting that it should not be like that? The Nata (actor) in this play is a Brahmin who follows his cast prescriptions for a strictly religious life, whereas he is destined to do the role of a wicked character. When the actor encounters a situation that his fans always prefer to see him in Kali’s role, he is caught up in a predicament and he is denied of any role than that of Kali. This experience of the actor can be extended beyond the individual level, so as to reach out to the realm of life of those who are hit by the evil designs of Kali and who meet with their tragedy. The purpose here is not to probe into the erosion of values in man. The play envisages the crisis, which human life encounters and the idea, which lies integrated with the theme, highlights how such dilemma could be overcome.
-Kavalam Narayana Panikkar
SYNOPSIS
Scene I
Kali is an immoral character, invisible to all but visible to the actor and of course to the audience too. The actor is cautious to keep the character without being possessive of it. Slowly the character takes the upper hand in the process of interaction but badly hit by the reality that it can manifest only through the actor. It teaches the actor all its immoral attributes and the poor Brahmin actor turns out to be ferocious. King Nala having lost his royal sway wanders through the forest with his consort Damayanti. Kali, through the actor creates a sense of fear in Damayanti in the guise of a serpent. Actor and Kali were two entities; now they become one, then there is’threeness’, Nata, Kali and Nala made into one entity.
Scene II
The night performance is over; the actor returns home in the morning still at his wit’s end – in the obsession of Kali. His wife tries her best to keep him normal. But he finds Kali everywhere, in everyone including his wife. In a reflective mood he entreats his fans to cast him in any role other than Kali; preferably that of noble characters like Dharmaputra, but this is rejected.
Scene III
Kali instigates Nala to abandon his consort in the forest. When Nala is away, Kali makes a futile attempt to molest Damayanti. Her chastity transforms into a forest fire which threatens to annihilate Kali. Serpent Karkotaka who falls in the fire seeks Nala’s help for rescue. When saved, the serpent shows its real nature and bites Nala. The venom within Nala drives out Kali. Nala graciously allows Kali to move off on a condition that he will never disturb the virtuous.
NOMINEES
Best Director Best Choreography: Kavalam Narayana Panikkar
One of the leading exponents of the traditional and folk theatre, Kavalam Narayana Panikkar is known for his successful productions of the traditional Sanskrit plays. He belongs to Kavalam, a village in central Kerala, and is the founder of Tiruvarang the theatre unit of Sopanam. Besides being a prominent director, Panikkar is also a prolific writer with 29 plays to his credit. Avanavankadamba, Tiruvazhithan, Jabalasatyakaman, Ottayan, Arani, Thirumudi, Theyya Theyyam, Suryathanam and Karimkutty are some of the famous plays he has written. He has directed Sanskrit classics like Madhyama Vyayogam, Vikramorvashiyam, Shakunthalam, Karnabharam, Urubhangam, Swapnavasavadattam , Malavikagnimitram and Dootvakeyam. A poet of repute in native tongue, Kavalam is also an accomplished lyricist. In addition presently he is the Vice Chairman of the Central Sangeet Natak Akademi, Chairman of Kathak Kendra, New Delhi, and Chairman, Kudiyattam Kendra, Trivandrum. His contribution to theatre has brought him many awards which include the Nandikar Award and Kalidas Samman, Fellow of Kerala Sangeet Natak Akademi and Sangeet Natak Akademi, New Delhi. His plays were featured in the Kalidas Samaroh at Ujjain and in many other festivals all over India and abroad. Awarded Padmabhushan in 2007, Tanvir Samman in 2008, and One India One People award in 2009.
Best Lighting & Best Sound Design: Harikrishnan
Harikrishnan , born in Kerala on 23rd April, 1953-associated with Sopanam productions for the last 40 years. He has directed two plays of Sopanam, Daivathar and Sakshi. He has done done lighting for nearly 20 Sopanam productions including Sanskrit plays like Karnabharam, Madhyam Vyayog, Sakuntalam, Malavikagnimitram. He has traveled widely with Sopanam group to countries like Japan, Russia, Greece, Korea etc. He has also participated in many National Theatre Festivals like Bharat Rang Mahotsav, Nandikar Festival, Nehru Centre Festival and the like.
Best Ensemble
The Sopanam Institute, which has just completed more than 40 years, under the leadership of Panikkar has tried to explore the possibilities of bridging the gap in our present day theatre arts. Traditionally these arts mediated between the possible and the plausible. Sopanam , through a series of dramatic productions, workshops, seminars, festivals, publications, interactions has tried to discover the basic principles of theatre on performance aesthetics. Hence its commitment to Sopanasangeetham, Mohiniattam, contemporary recreations of ancient plays, dramatizations of poems, folk songs, folk tales and performances of new plays.
