As easy God to make...and break...

One of the features I liked in the De Vriksha play on Vikramadhtiya was the depiction of the God Ganesh. One of the screen-bearers was made to sit on a stool. His head was covered with a red towel placed vertically. The end of the towel was rolled up and held in the actors left hand like the trunk of the elephant-headed God. The towel was held in place by a head band. The right hand was raised in abhaya Mudra. All this happened right in front of the audience! Suddenly, the God was there!

This is the essence of rural art forms like koothu. No elaborate make up or costumes are needed. In a matter of minutes, a well known villager becomes a divine being Vinayaka!

As the Kattiyakkaran elaborates, Ganesha is such an easy God to make…and break! This scene also had a social comment about how the very same idols of the God Ganesh which are worshipped one day are rudely and irreverently broken and thrown in the sea the next. The symbolism of Avahan and yatasthan prathishtam are violated so crassly by our over-zealous brethren!

Vikramathithan Kathai by De Vriksha

On 10^th October I had the opportunity to witness a performance of “Vikramathitthan Kathai” by De Vriksha. Ms. G Sreedevi, a disciple of Na Muthuswami had directed it. The cast was a group of youngsters (all male) who were first-time on-stage actors with a passion for theatre.

The play was highly interactive with the Kattiyakkaran connecting the audience to the actors. This role was portrayed with élan and grace by the actor who played it. We could see the amount of practice which had gone into the miming, movements, acrobatics and gestures.

Koothu-P-Pattarai plays are very subtle and use different vehicles to get the message across to the audience. I could see very little of it here. For example, the Kattiyakkaran was dressed in jeans, T-shirt and hat. This could have been further explored. Why not Vikaramadhityan and Patti also be in modern dress. After all the characters were liberal in using twentieth century devices like cell phones.

The artist who played Vikram was stiff. The role could have been done with more friendliness and humor, especially when Vikram refuses to cut his own head as a sacrifice to Kali.

The play was entertaining and absorbing. The acting by and large was above average. But it lacked social comment which is a hall mark of Koothu-p-pattarai. But the goal was to show case talent. In this they had succeded!

I was asked to speak after the play. I praised the artists and also quoted a poem from Mahakavi Bharathiyar. This drew an instantaneous and spontaneous applause. Tamil audiences are dialogue-bound and respond well to the spoken word.