‘Kalyanasougandhikam’ introduced alive the mix of components distinctive to a Kathakali play
Both halves of the play start on a meditative mode. First, with a romantic scene involving Bhima and his partner Panchali. If the opening 30-minute choreography for the Pandava prince is fascinatingly unhurried, the story within the woods repeats the thought, albeit briefly. That is simply into the second half, the place the monkey-god sits in penance. It is a nonetheless posture struck in silence, barring the murmuring percussive rolls that characterize the devotee’s breaths.
Hanuman finds his quietude damaged. Unexpectedly. A self-search into the explanations is essayed by means of high-vibrancy mudras. The Ram-bhakt realises an invasion is on, and the person approaching his idyllic territory is Bhima. The ensuing encounter is dramatic: the club-wielding Bhima seeks to shove ‘a doddering ape’ out of his manner, however fails. Hanuman quickly reveals his id, and the dizzy youthful half-brother is pleasantly stunned. They hug, chat and half, with Bhima having now received steerage on the place to seek out the aromatic flowers that had enchanted his spouse.
Kalyanasougandhikam is a narrative recognized for its distinctive mix of components that spotlight the classicism of Kathakali. The richness of its Sanskrit-dense literature, the gradual and quick dances, twists in plots, and the vitality of background scores was showcased at Kalakshetra Foundation’s 67th Annual Art Festival overlapping with 2020 Margazhi celebrations.
The December 22 programme retained the presentational spirit of the work by Kottayam Thampuran of 18th century Malabar. The present selected two standard scenes from the 13-chapter play that canonically spans in a single day, bringing out sure central options of the dance-theatre in 140 minutes.
The invocatory Kedaragowla alapana and sloka paved the best way to what units the eminence of Kalyanasougandhikam. The Sankarabharanam-raga padam is ready to eight-beat Chembada tala, however the cycle is expanded four-fold — like naalu kalai in Carnatic music. The approach ensures a very gradual tempo, letting the love-nourished verses of ‘Panchalaraja tanaye’ mould a grand structure.
Kalamandalam Balasubramanian met the problem with grace, unveiling the grammatical eminence of the mainstream Kalluvazhi fashion of Kathakali. Be it the profile of the hand gestures, the curves the headgear scripts within the air whereas delineating the summary chuzhippu actions, or the restraint within the facial expressions — a lot of it lived as much as a viewer’s expectation of a grasp with 5 many years of expertise.
Indeed, clear physique language was widespread to all three dancers of the night. Young Kalamandalam Adityan saved Panchali’s timidity intact, which suited the tenderness of the breeze-brought sougandhika blossom that she needed her husband to fetch extra of. Middle-aged Peesappilly Rajeevan, as Hanuman, sought to current ‘wind’ as a leitmotif, on condition that Vayu is the religious father of Bhima as properly. The finish part of the play had sufficient doses of pure appearing mild up the fraternal camaraderie. Like desserts served because the final course of a ceremonial feast.
Nedumbally Rammohan displayed properly his schedule-keeping abilities because the anchor vocalist, whereas the supporting Sadanam Jyothishbabu shone particularly properly within the higher registers. Sadanam Akademi batch-mates and colleagues Ramakrishnan (chenda) and Devadas (maddalam) complemented one another with practised ease. Kalamandalam Satheesan’s make-up abilities had been evident within the tidy visages of the male characters. Greenroom assistants Sadanam Sreenivasan and Vivek doubled properly as ground managers.
The digital camera angles throughout the reside streaming indicated good preparatory work. An apt mixture of medium pictures and close-ups made the viewing pleasing.