‘Abhigyana Shakuntalam’ was performed in Koodiyattam style at Kalakshetra as part of the Silver Jubilee of Prakriti Foundation in February 2023. Photo Credit: Karunakaran M
Koodiyattam, the Sanskrit theater tradition of Kerala, is said to be the last surviving performance art in the classical language and the oldest continuous theatrical tradition.
Israeli Indologist David Dean Schulman once traced the historical background of the form, which has its origins in Natya Shastra, and his personal growth of improvisation and adaptation to the local environment to develop an indigenous form. Moving away from following the linear movement of narration prescribed by Natya Shastra, the characters move back and forth in a non-linear narrative, prompting the audience to peer into the minds of the characters as depicted. Another feature is ‘pakaranattam’ – transformational acting – where the actor playing one role also portrays multiple characters.
A Koodiyattam performance, from ‘Abhigyana Shakuntalam’, held at Kalakshetra, as part of the Silver Jubilee celebrations of Prakriti Foundation. , Photo Credit: Karunakaran M
Koodiyattam is also a very demanding art form – it requires complete concentration from the audience. Many of the nuances and subtleties that make up the vocabulary of a performance would otherwise be lost. This fact was re-emphasised at the recent performance of Kalidasa’s work ‘Abhigyana Shakuntalam’ by Nepathya at Kalakshetra Auditorium, as a part of the Silver Jubilee celebrations of Prakriti Foundation.
Kalidasa’s ‘Shakuntalam’, which was not part of the traditional Koodiyattam repertoire, has been included by recent practitioners. Backstage’s Margie Madhu shares her take on this classic.
Nepathya Margi Madhu at a Koodiyattam performance ‘Abhigyana Shakuntalam’ at Kalakshetra, as part of Prakriti Foundation’s silver jubilee celebrations in February 2023. , Photo Credit: Karunakaran M
Dushyanta’s hunting expedition with his charioteer, chasing a fleeing deer to sage Kanva’s hermitage, the king entering the hermitage, getting a glimpse of Shakuntala and meeting her and falling in love is the first act of this two and a Was the story of Half an hour presentation.
convincing illustration
Dancers perform a scene from ‘Abhigyana Shakuntalam’ depicting the king shooting arrows at deer, charioteer on horses at Kalakshetra as part of Prakriti Foundation’s silver jubilee celebrations. , Photo Credit: Karunakaran M
The traditional entry of the characters behind the Thiraiselai – Purappadu – depicts the king aiming his arrow at the deer, the charioteer on horseback and a conversation between the two. The communication through gestures and facial movements was so captivating that as the chariot passed over rough terrain, viewers could relate it to the rough ride they experienced every day. Nepathya Srihari Chakyar, who played the role of the charioteer, was very expressive in his reactions to the king, depicting the reins of the horses and the unrest of the chariot.
emphasis on acting
The main emphasis on mime came to a head when Dushyanta described the scenes inside the ashram.
A Koodiyattam performance from ‘Abhigyana Shakuntalam’ at Kalakshetra as part of the Silver Jubilee celebrations of Prakriti Foundation. , Photo Credit: Karunakaran M
Madhu described in detail the beauty of Shakuntala. And Indu ji played the role of Shakuntala with full conviction.
The imagery of the narrative unfolded through the innate brilliance of the dancers and their conversational powers, but the accompanying musicians contributed largely to the overall aesthetic experience. Every movement of the eyebrows, and every movement of the hands and body was found to be echoing with perfectly synchronized sounds – Mizhavu by Kalanandalam Manikandan and Nepetya Jinesh with Kalanilayam Rajan on Edakka. Tala Nepetya was performed by Anandi and Kalamandalam was composed by Satheesan.