. it through observation and imitation while...
Transcript of . it through observation and imitation while...
APPENDIX I
INTERVIEWS
THEYYAM
AI-1.0 Interview with A.K. Nambiar, School of Drama, Thrissur
29-11-1993.
AI-1.1 Please explain the social relevance of the myths
behind the different Theyyams. Are they in the form
of different protests by the down-trodden?
Different Theyyams represent different staycs of worship
by man. There had been animal worship, snake worship, hero
worship, goddess in ancient times. The changes that occurred
in the forms of worship, helped in the evolution of this ritual performing art. Many Theyyams like 'Pottan', 'Makkappothi',
'Muchilott Bhagavathy' etc. are in the form of protests. Some
of them like 'Raktachamundi', 'Pallott Devi' etc. have relation
with 'Kali' worship with local variations.
AI-1.2 How is the training in Theyyam received by the
performer? Is it formal or traditional?
Generally, there is no formal training in Theyyam, as
that in other ritual performing arts. The Theyyam-artiste
learns it through observation and imitation while accompanying . the elders during the performances. But in some Theyyams,
special steps like that in 'Kalari ' are learned formally.
Before the performance, strict 'Vritha' from 3 to 41 days
should be observed by the performer. The period of 'Vritha'
depends upon the nature of Theyyams. The Theyyam-artistes
usually belong to certain sections of the low castes dike
'Pulaya', 'Malaya' 'Vannan', 'Paraya', 'Urali' etc.
AI-1-3 How is the belief of the performer in hem', what is
the difference with the actor in a Theatre?
Usually in Theyyams, only believers are the performers.
Even if he is a non-believer, when he actually performs
Theyyarn, he will have that aspect of belief in him. Theyyarn is
a ritual art, and if the element of belief is not there, it
will degrade in to a farce.
In theatre, the belief of the actor is self-confidence
(Stanislavski). Here it is make-belief, making the audience
believe that he is the character.
The self-confidence in Theyyam-artisteis acquired through his
belief in God or religion. It is social as well as
psychological. He has to suspend hisown self atleast for the
time of performance and wear a robe of belief.
During performance, they go into trance, some are
pretending that they are in trance. It is a trance related with
religious belief*- (-not as in the actor in a theatre).
Even a performer who enacts a secular Theyyam will have
the element of belief. There is no Theyyam, which are not
connected with religions or beliefs.
AI-1.4 Can we connect some Thevvams to the Theatre or cruelty
of Artaud?
The intensity and the fierceness of performance along
with the high spectacular aspects of Theyyam can be connected
with Theatre of cruelty. In 'Pottan- Theyyam', 'Ottakkolan
Theyyam', 'Ummattikkuliyan Theyyam', there are the elements of
'Manthravada'. There is the fierce performance of 'Uchabali;
inf lictuon of self -suf f ering .by cutting the hands and pouring
blood, which is very well akin to theatre of cruelty , It must be remembered here that Artaud derived his ideas of the
Theatre of cruelty from the Balinese theatre.
A1-1.5 How much time is needed for preparation before
presentation?
Usually about four hours are needed for the preparation
and eight to twelve hours for the performance. (With 'the
costumes already ready). Theyyam have connection with the
timings (Eg. Karimkuttichathan is performed in the early hours
of the morning, Vishnwnoorthi during day time, Theechamundi is
during night). In this respect, theatre does not observe this.
AI-1.6 What about the audience? Their belief? Their
participation? etc. Do they communicate with the
performers?
The audience in Theyyam are usually believers. But there
are people who regard Theyyam completly as a visual art .- But traditionally the audience are believers and they come for
participation. When Theyyam was performed, fomerly the audience
had their own separate positions. But now that division has
gone.
The audience are always communicating with the
performers from the beginning to the endwvocal communication is
also there between the performer and the audience.
A1-1-7 What is your opinion about taking Theyyam out side the
traditional performing spaces like 'Kavu' or 'temple'
etc? In this case is it moving towards theatre?
When a ritual is taken outside its traditional
performing spaces, it will have its own limitations as a ritual
performance.
There are justifications for taking Theyyams outside.
One is, to draw the attention of the outside world to such a
rich performing art. We have taken this is to Russia, Germany
and France. But what we did there was to create an artificial
ritual atmosphere there for a complete communication of
Theyyam. In the festival of India, Theyyam was presented over
the side of Sen river. I made use of the nature's
background, the steps towards the river, for the presentation
which was much appreciated.
When we take the art outside, the art as well as the
artists are known outside. ,. We highlighted the spectacular
aspects there .- We brought out the limitations of the
proscenium there.
It is true that in highlighting the spectacular aspects
of Theyyam, the believing aspect as well as the ritual aspect
are lessened. And it moves more towards . theatre than . ritual. But that is the need of the day.
AI-1-8 What about the costumes and deep colours used in
Theyvam? How is it related with Theatre?
The deep colours used in Theyyams express the eternal
f bhavas' of the goddesses. Deepred colour is used in Thnyy_am
which is connected with blood. The design of the costume, as a
whole, expresses the fierceness haudrabhav;) of the art.
Colours would be mixed, usually 'Chayilyam' is used. In
'Muchilott Bhagavathi', a minute design is given on the face.
The peculiarities of the goddesses are expressed through these
portrayals. There would be different Theyyam belonging to the
same category, There will have different portrayal.
The 'Mudi' of Theyyams vary from one feet to 30 feet
This is to establish 'bhavas' that are unworldly . . The ivludi' of 'Muchilott-Bhagavati and Vishnumoorthy is very small.
AI-1-9 Music - The musical instruments like 'Chenda', 'Elathalam',
'Cheenikkuzhal', 'Kurumkuzhal', 'Cheriya maddalam' are used,
These instruments have connection with tribal culture. But we
cannot say that Theyyam is a refinement of tribal arts. In both
we can see goddesses of agriculture. There are Tribal Theyvams.
AI-1-10 Theatrical elements in T h e g y a w .
Some of the Theyyams are rich in Theatrical elements,
like 'Muchilott- Bhaqhavati', 'Makkapothy' 'Daivathar' . . The
actions are so mo delled so as to communicate the rituals more
powerfully.
There are comic characters as in 'Mudiyettu' or
'Padayani. , Kuttitheyyams and 'Bhootha theyyam' as '~oolies 'in < 4
Mudiyettu . The dialogues of Boothas are full of comic
elements. They are full of fun as well as thought. But we
cannot take this as a general rule in Theyyams.
AI-1.11 Ritual props used.
'~eedom'is an essential object in The~~ams, some of the important
scenes in Theyyams are performed sitting on the 'peedom: In r Karimkuttichathan, a dance performance is given standing on the
peedom'. This is called 'Peedakalasam'. Some rituals are
conducted towards 'Peedom' . This will b e done at the begi$,ing
'as well as at the and of the performance.
The Theyyam may listen to the complaints of the people
sitting on the'peedom'or standing.
The use of 'Yavanika' is very rare in Theyyams. In
certain T,heyyam~, just before the performance, '~avaniki may be
held. There it has got a theatrical function.
(As in 'Padayani., the darkness is also acting as
'~avanika' here. Just before the coming of Theyyam 'Vadyamelal
will be there.)
Usually songs are sung by the 'Thottakaran'. In certain
Thevvams, Theyyam also sings.
AI-1.12 How are the movements of Theyyam? Are the steps varied?
Are they taking liberty during performance?
Each Theyyam - has itsown movement pattern. These
patterns have their own variations -. These fixed patterns are
not at all broken by the performers usually. They may vary the
rhythm but not the basic patterns. The variations are directed
by thervaddyakar: or the Theyyam itself direct the rhythm. Here
he takes liberty.
The performer, moves in a fixed score generally. There
is limited possibility for improvisations. No new steps are
introduced, they are confined within the traditional steps
(Here there is no rehearsal, as in the theatre . In theatre
there is no fixed - scores ) . The performer is supposed not to break the score or rituals in Thevyam.
But the movements of a particular Theyyam have local
variations - Eg. There are variations of castes like in 'pottan ~ h e ~ ~ a m ' by '~ulayas' or by '~alayas.. But in a particular 'Kavu'
this variation cannot be affected. This anthropological
variations in the performance can be seen in all folklores.
That is also seen in Theyyams.
But with the change of time, the duration of t hott tams
have been reduced. The performance-time is reduced (some times
from four days to two days). Here, we can say that Theyyam is
nearing towards Theatre.
.3I-1.13 How are the light employed in They-yam..?
Usually 'Olachuttu' (bundle of dr%ed coconut-leaves)
are used functionally in Theyyam. t andh ham' is there in the
'~olams; of Theyyam (from four to 16 'pandams) For '~andakarnan'
there are 16 t andh ham$.* In the burning light of the 'Choottu',
the natural colours on the. ~olams' will have varied dimensions.
There is a fragrance for the 'Choottu'.
AI-1.14 What all lessons to theatre, can we draw from Theyyams?
i) In the creation of the atmosphere.
ii) In the difference aspects of acting.
iii) In giving colour combinations to different characters.
iv) Participation of the audience.
v) Actor-Audience relationship.
vi) Space utilization.
AI-1.15 How is 'Mudevi Theyyam' influenced by the ritual art
Theyyam?
The music as well as costume in Mudevi - Theyyam were done by me. For deification I had in mind two or three Theyyams.
C
One is Mudhillott bhagavathi. The myth of 'Muchillott-
~haoavathi' has inevitable connection with Mudevi Theyyam. In
the last scene for the killing of the people 'Purakzla Theyyam'
is taken a-.'~ulikan' has got a big'~udi'. .- The killing was done
by certain '~aliisams' in ThevyamseI think it was very relevant,
correlated with the theme of the play.
In the employment of music I made certain changes to
suit the theatre. The 'tune' was from 'the Thottams' of
Theyvams with out losing its spiritual quality. For 'the
manthravada' the tone was improvised.
r I For the performance of Sarpapooja, an improvised
\ ~andal' was created on the stage and some improvised movements
almost like in 'Kalampattu'. I think the audience received it
well. (I could have brought 'Pulluvan Pattu'. But I
deliberately avoided it.) A 'Kalam' was improvised with a
possessed dance.
In the presentation, there was an on the whole
influence of Theyyam, but the actual Theyyam was introduced
only for a few seconds. (Here was the directorial brilliance).
The traditional elements are used not to highlight. the
spectacular aspects in them, but to draw the spirit from them.
Even to an audience who were not familiar with Theyyam,
(as in Delhi) this could provide a theatrical function. The
audience in Delhi appreciated it very much. The technique of
the ballad-way of presentation was much appreciated by the
audience. Had it been presented in Kannur, I think the audience
would have appreciated it more* In the open air it gets more
scope and dimension.
AI-1-16 The ritual influence on modern Malayalam Theatre.
We have to take only the culture of these ritual arts,
not the outer structure above. They should not be projected on
the stage as they are; often the assimilatien is done only
externally. But the real thing should be the absorption of
their spirit in relation to Theatre. Ic this is done, our
theatre would be more powerful.
A1-2-0 Interview with Pazhoor Damodhara Marar
AI-2-1 &at is the myth behind 'Mudiyettu' 2
(He explained in detail the myth.)
AI-2-2 At what age did you learn 'Mudiyettu'. What were the
training methods? Was there any teacher to teach you
the ritual art?
Even from the very early child-hood I had been
connected with Mudiyettu. as my father and grand -father were
e very great artist&s in Mudiyettu . The process of learning it was very gradual and spontaneous. There had been no formal
training. My teacher was my father. At first I used to sing
with my father, and helped him in arranging the constumes etc.
But I used to take some physical exercises at that time. There
had been no formal or systematic training methods.
AI-2-3 Has there any heriditarv claim for the performers in
Muddiyyettu? Should they belong to a particular caste?
While the Theyyam-performers belong to the low caste of the
society, 'Uudivettu- performers belong to Kurup and Marar community.
This may be because of so may social reasons. This ritual art had
been performed in the temple premises. But recently the concept
of this high caste of the performers has altered. Now those who
are able and interested also become Mudivettu,- artistes It is
said that in olden times, while the uncle did the role of'~ali:
the nephew did that of Darika. But today this is not observed.
AI-2-4 Whatall 'Vritha' the performer has to
In undergo before the performance? While,performance do you have
the feeling that you should succeed as an actor? What about the
transformation while performance?
There should be forty-one days2 'Vrithanustata' before the
performance. The performer should keep physical purity, purity
of food and celibacy. While in performance, I never went in to
a complete trance. There always exist the feeling of the
performer in me. But there were incidents when the performers
went>?o complete trance, and even Kali killed Darika during the
time. ~ike'the Velichappadu' 'Mudiyettu performer may go in to
a complete trance. The transformation in the performer is
related to the rhythm of music c For the transportation of the
performer there is no particular external ritual9 provided.
Others may hold them and make them point the weapon ' towards
the ground. The weapon is forcibly snatched from their hands.
Then the cooling often occurs in them.
A1 2-5 Wow much time is taken for the preparation of the
performance? What all rituals conducted durinq that
time?
'Mudi' is already prepared one, which would be decorated
with 'Thechi flowers. It would take three and a half to five
hours for the preparation of the performance. _Mudiyettu
performance would be announced after the 'Ucha-pooja' of the
day by 'Vadyas'. All other other preparation should be done by
the conductors of .Mudiyettu .
AI-2-6 What is the'thaur~athrika'element in 'Mudiyettu'?
The dance-torms of 'Athlkarantham' ana '~arin.?iplutham' are
there in the movements of Kali and Darika. This is described
by Bharatha in Natyasastra. Similarly in the war scenes of /
(
~Zriki and 1 , the acting -form of 'Pakirithirichil' is
there. There are '~atasams' 'Thonkaram' and 'Exatti' in the
movements of the characters. Also, in Mudiyettu there are
acting-forms of 'Irunnattom', 'Pathinjattom' and '~lakizttom'
especially during the war scene of Kali and Darika. An actor in
:Mudiyettu should be well-versed in 'Thauryathrika'.
AI-2-7. Do the audience in 'Mudiyettu' come with
'Vrithanutana'? Are they coming to see the Gods with
devotion? or are they coming to enjoy only an artistic
piece?
Usually the audience in 'Mudiyett~~re devotees. But there
are some who come to enjoy only the spectacle in it. The
devotees in ritual arts are supposed to come with
'Vrithanustana'. That is why they continuously witness for four
or five days the enactment of pludiyettu,.
AI-2-8. Are there any occasions in 'Mudiyettu' when :the performer'
communicates with the audience? What is the purpose of
the introduction of 'Koimpidanayar' in the 3rd scene of
Mudiyettu? Is it for conveying dramatic enjoyment to
the audience?
Just after the enactment of 'DFirika Vadha' KZli performs
'Uzhichil' of the audience with the 'Pandham' (burning torch).
This is to exorcise the illness of the demon-ruleZ DZrika.
During the war scene also K= performs this ritual of
'Uzhichil' to the children in the audience. Then she receives
'Dakshina' from the audience.'VedZlal approaches the audience
asking for money. There is a dramatic function of introducing
the character Koimpadanayarl- to give a comic relief to the
audience. He is also believed to be 'Nandikesa' in disguise.
AI-2-9. How is the ritual costume of the characters in
'Mudiyettu'?
Most of the materials used as costume are directly
available from nature. 'Kuruthola' 'Chayilyam', 'Kari' ,
'Chunnambu' 'Manayola' etc are used. The colours used are very
deep, like that of red, green, white, black etc. All these have
got their own meanings. ~zli's '~udi' is longer than Dsrikan's.
It is made of sheet-metals.
AI-2.10 What are the ritual stage-props used in 'Mudiyettu'?
What are the function of 'Yavanika', 'Peedom' and
'Nilavilakku' in the performance?
Basically 'Mudivettu is a drama. Even the script is
written like a drama. There are seven scenes in the performance
of 'Mudiyettu' Scenes of Siva and Narada (i), Extrance of
Darika ( 21, Entrance of ~ a l i ( 3 ), Koimpidanayar ( 4 1, ~grika and
~anavendra ( 5 ) , ~arika-vadha ( 61, 'rnudiyedupp; ( 7). In all
actions of these, 'Peedom' is an essential stage- prop.
'Nilavilakku' in 'Mudiyettu is the concept of Siva. 'Yavanika'
is used many a time in the enaction. The use of these ritual
stage-props enriches the theatrical power of Mudiyettu'. -
AI-2-11 How is the use of music and light in 'Mudiyettu'? What
are the objects used for lightings? What all musical
instruments used?
C J J Pandams (torches), five-wicked torches (Theevetti) are the
important objects used for lighting. During the war - scene the
space of performance expands to all over the temple premises.
ÿ he lighting-men should accompany the characters all over
there. Thus a peculiar way of lighting is provided in the
performance. The musical instruments used are 'Uruttuchenda',
'VGkkan chenda', 'Ilathalam' etc. Sometimes 'Kompu' is also
used like the lighting men, the ~glakkar should also accompany
the characters where ever they go during performance.
AI-2-12. What all elements can we take from 'Mudiyettu' to the
modern theatre?
As far as ,~udiyettu' is concerned, there is no existence
for it, apart from its ritual aspects. The performance of
'Mudiyettu' would be successful only when it is connected with
temple culture. Even it is taken out, the performance-space
should be converted in to a temple premise. Mudiyettj' should
!;ot become a play. But the actor..aswell as the audience concept
in :Mudiyettu' can be a lesson for the modern theatre-worker.
P A D A Y A N I - - - - - - - - - - - - - - - -
AI-3.0 Interview with Kadamuanitta.
Vasudevan Pillai.
AI-3.1 Please explain the myth behind 'Padayani'.
It is a myth related to Dsrikasuravada. After the killing
of '~arika', 'Kali' loses her control and advances forward
destroying all that obstruct. her way. The Devas try to
pacify 'Kali' doing all sorts of things like singing, dancing,
acting comically# Some of them wear masks and dance infront of
7 her. Some others draw 'Kalams' , the figure of Kali'. The
action-sequence of 'Padavani remind all those actions of Devas.
AI-3-2 Like 'Mudiyettu' , is there any &rogative for certain
castes to perform 'Padayani'? Is there any in hereditiry ---- riqht for the performcre in Pndnynni?
In my opinion Padayani might have been a ritual,
performed by all the villagers at certain staye of history.
When the society was divided through caste system, each aspect
of '~adayani might have been done by certain castes. Thus the
categories, the performers, the singers, drawers of Kolams,
those who collect materials for the ritual might have evolved.
There is an element of sacrifice involved in it for each
section of the society. Pdays~i' does not belong to a
particular caste. Even the phenomena of priesthood might have
evolved at a later stage.
AI-3-3 How is the performer prepared? What all 'Vritha' he has
to undergo before performance? How is the element of
belief in the actor? How is the transformation-level of
the performer?
The original concept was that the performer should undergo
strict 'Vritha' for about forty one days before the
performance. At the beginning of the performance he is one
among the villagers. But gradually his self dissolves in to the
state of goddess and he passes on to a trance. Thus almost a
r. complete transformation is occur&ng there. The transportation
happens usually with extermal aids. He may be held, or carried
away. 'cooling' often happens when water is sprinkled on the
face. This transportation happens even without these external
aids, sometimes. The level of transformation is in proportion
to the speed of the rhythm of the musical instruments. He can
continue the performance, if this transformation occurs only to
a certain point.
The performer is doing acutally a sacrificial ritual.
Therefore, he has the feeling that as a ritual it should be more h perfect than as an art-piece.
A1;-3-4. How is the 'Padayani' performer prepared before the
performance? Is there any hereditary right to became a
performer?
> sans (teachers) are teaching the pupil in '~alaries:
Formerly 'Uzhichil' as that in Kathakali-performer's training-
process was given to the performer. As in Mudiyettu' or
'~he~~am'there is no hereditary right for the performer.
A1'-3.5 How much time is needed for preparation? What is the
process of preparation?
The preparation of 'Kolam' is called 'Sadhippu'. The time
requires, depends on the nature of 'Kolams'. Formerly, Padayani
was performed for about 28 days. For the rehearsal of 'paradesi',
at least fourteen days are needed.
A1'-3-6 What are the qualification of a 'Padayani' actor? How
are the movements of 'Padayani' learned by him?
A padayani-actor should be well-versed in Ggetha, Nrithya
and vsdya ('Thauryathrika'). But today a Padayani-performer
is not so. In olden days the scene of "Paradesi' was performed
through 'Thauryathrika'. Here the actor goes from discipline to
liberty and in theatre the actor goes from liberty to
discipline. We know that in all arts there is the attempt to go
beyond the forbidden.
AIC.3-7 Who are the audience in 'Padayani'?
Are they devotees coming with 'Vrithanustana'? Or are
they coming, just to enjoy an art-piece? Do they
consider 'Kollamsl as Gods? What about today's
audience?
There are no audience in Padayan1 . All the villagers are
participants in the sense that even from the very beginning of
the preparation of 'K6lams' to the.last movement of offering
, the 'Kb'lams' to the dieties they participate in the process.
Some times, even during the performance-time, when a performer
exhausts himself, people who know Padayani, go to perform
padayani' in his place. In fact it is a sacrificial ritual of I
the whole villagers.
Today, the audience belongs to different categories. Some
come as devotees, some as mere spectators coming for enjoyment,
some for studying it (as the investigator). But all the people
get; transformed to a certain level. But in theatre there are
only spectator, inspite of the fact that transformation to a
certain degree occurs in him. There is no identification of the
performer and the audience in theatre as in ritual arts.
A1 -3-8 It appears that in the performance of'padayani', there
are so many theatrical elements as in the 'Pakarnattom'
of Kalan-Kolam or in the introduction of 'Pattarum
Pennum', 'Paradesi' etc.?
Please explain.
'Padayani' comes very close to theatre. But I think
'Kalaikk6lam' is a later addition to Padayani . Even the very design of it, is theatrical. The 'K61am1 is designed to give
full freedom to the enactment. As Ayyappapanikkar says, even
the very concept of '~akarndttom' is a lesson for the Modern . .
Theatre.
A1:-3-9. How are the costumes designed in 'Padayani'? What is
the use of colours in Padayani?
What is its relevance?
Very deep colours are used in'IColamsf-like deep-red, black.
green etc. These colours are related to the intense experiences
of the people. The terrible, fierce and bloody appearances of
tne '~diams' lift tne mlnds of the audlence to a metaphysical
plane. (Ref. to Artaud). This essence of spectacle is surely a
lesson to the theatre.
A1'-3-10 What are the ritual staqe props used?'~avanika',
Nilavilakku or peedom?
'Yavanika' is used at times in Padayani. For example
during the performance of 'Arakkayakshi' 'Yavanika' is used for
its entrance. I think the use of '~avanika' is taken in to this,
at a later period. It is a tendency to take padayani near to
Kathakali. The function of entrance of the characters is
already been done in some other way in Padayani . Here, the darkness itself acts as 'Yavanika', characters enter from a
distance with rhythm and music. The use of 'Nilavilakku' is
there, but in the performance time it is not there. The use of
'Peedom' is not seen in Padayani.
AIr-3.11 How is the 'liqht add 'music' provided in'padayani'?
The main source of light for the performance of :P@ayani . -
is 'Chootu' (bundles of dried coconut palms). The gradual
burning up and down of 'choottu' gives different dimensions of
colours and movements to the figures in the 'K61ams1. The
mixing of darknose and light at the time yivcs a lnctnphyaicnl
. atmosphere. The pictures in the 'Kolams' are enlivened by the -
application of light. The use of choottu, reminds us of tribal
dances in the ancient days.
The musical instruments used are 'Thappu' 'Ilathalam',
'para1 and 'Udukku' . These are :~sura vzdYasi, the use of which suits the internal structure of Padayani. The vibrating and
fierce sounds of 'Thappu' reach even distant villages.
AI'.3-12. What all lessons can the modern theatre derive
from the ritual arts like 'Padayani'.
I think the search for an indigenous theatre is still
going on in Malayalam. But it is sure. that, the search would
reach to the roots of our ritual arts. But in an effort to
create a new trend, we must not depend too much on the
periphery.~ of these arts. When we turn to ,Theza% , ,Padayani
or .Mudiyettu. for getting inspiration to the Elodern Theatre
(for rhythm, movement or costune), we have to take only the
culture of it.
AI-4.0. Interview with P.K.Venukuttan Nair. 19-11-1993
AI-4-1 Who is the pioneer of the 'Thanathu' concept in
Malayalam Theatre? ~an'~ali' be considered as a first
venture towards it?
In the first drama-workshop (Kalari) held in Sasthamcottah
in 1967, it was M.Govindan who aired the concept for the first
time. It was C.N.Sreekantan Nair who was inspired most by the
idea. The idea effected an absolute change in the theatre-
cf concept of C.N. I think that Kali was born outathis press of
excitement in C.N. Eventhough we cannot say that i , is
directly influenced by ritual arts, it is the first play based
on this 'Thanathu' concept in the history of Plalayalam Theatre.
AI-4-2 It is considered that your presentation of 'Kali'
was the most successful one. Were there any ritual
influences, direct or indirect, in the presentation
of Kali, when you directed the play.
Even in the script of there is the essence of all
ritual arts. There is also classic background for.it. But there
is not direct influence of any ritual art. But the growing of
the idol of a i and the creation of the 'Parikarmi:.,
'Velichappadu' are entirely ritualistic. When I presented the
the play, I prepared a crude ritual atmosphere even from the
very beginning. To retain this tribal atmosphere the rehearsal
was done in a forest area. This was to create a raw-ness in the
actors. However, there was not a complete awareness of a ritua-
listic theatre at that time. But the actors were well-informed
about the ritual arts like Theyyam, - Mudivettu and Padayani'.
The movements improvised by them were ritualistic in essence.
In fact, like a tribal ritual-enactment, they were enjoying the
rehearsal. This provided a spontaneous ritual character to the
whole ritual sequences.
A I - 4 - 3 Please interpret the myth in'~a1i'. Is the growing of the
idol and the destruction of all those who are
responsible for it, a recreated or invented myth?
Even the very structure of the play is born out of a
mythical concept. The actions of the play are centred around
the growing of an idol and the sacrifices needed for it. I
think the myth is a spontaneous evolution from the imagination
of the playwright, when he thought of evaluating the problems
of modern life. This very concept gives it the scope for a
ritualistic presentation.
AI-4-4 How were the transformation and transportation of the
actors in'~ali? What about them in the character
'~elichappadu?
I consider the transformation of an actor in theatre only
as a self - adjustment. The actor becomes a character only
deliberately. Always there is the duality of the actor as
well as the character working in him. Even when I gave a
primitive, tribal atmosphere to prepare the actors in U i ,
this duality was working in them. The faith and belief in a
ritual performer is different from the faith and belief of the
actor in a theatre. When I did Kali I tried to take the actors -,
to the plane of a tribal ritua1,which was irrelicjious.Eventhe
preparation of 'Velichappadu' was like that. I think the
transformation degree in the actor who took the role of
'Velichappadu' was very high. He even broke the limitations of
space and time. But1 neverallowed him to fall in to a full
trance, lest he should fail as an actor.
AI-4-5 What is your opinion about Ayyappapanikkar's comment
that Kali is a theatre of cruely as in Artaud?
Artaud's concept of 'cruelty' is to take man to the
extreme of 'cruelty' that he is capable of. It is to bring to
the stage a raw cruelty and then to abhor il;. In that sense
Kali is a theatre of cruelty. Here human beings are sacrified - with the ease of cutting bread. Then an abhorance is created in
the audience there by getting a self realisation. It is a sort
of Catharsis. In the scenes of sacrifice, this catharsis was
experienced by the audience.
.A]--4-6. Is the 'holy' actor-concept in Grotowski realized in
'Kali? (As 'Kali' centres round the theme of sacrifice).
The holy actor-concept had been there in all our ritual
arts-tradition. In primitive rituals,the performer enacted his
role believing in an irreligious force in nature. I wanted to
make the actorsin m i like that. I made their dialogues,
movements, music etc. very raw. In this level, the actor in
Kali comes close tothe actor in Grotowskian meatre.
AI-4-, 7. What is the audience-concept inr~ali> It appears that
C.N. wanted to involve them in the action sequences of
the play? In the script itself often the audience
enter the stage and participate in the action.
What is your comment?
In , I tried to recreate rituals through
improvisations. I did not approach m i , merely as .a stage
material. I never wanted to make it a refined and finished
product too. I was very particular that it should remain in
primitive plane. In this level 'u is connected with the
ritual performance of :Padayanil or ,Theyyam'. We should never
present a play with ritual influence in an intellectual way. If
so, the involvement of the actor as well as the audience would
become less. And, the play would remain only as a show-piece.
AI-4-8 What are the symbols in'~a1i: How are they connected I
with rituals?
All the symbols are created through improvised rituals.
Even the symbol of the Inn is made ritualistic. The characters
were placed in a semi-circle and the concept that the Inn is
this whole world is given. Thus the space and time are made
limitless. The growing up of the idol is ritualistic. The
ritual character 'Velichappadu' is symbolic. Vilasini, Kelan,
the mad singer etc. are symbolic too. In the use of the
language (like 'Sindabadh', 'swaha') there was an effort to
create a new dimension in Artaudean concept.
AI-4-9 . How was 'Kali' influenced in theatre-externals like in the design of costume, using of stage props, music
etc. -
The costume given to all the characters was related to
temple atmosphere that of 'the Parikarmi', 'l'halavadyakkar',
devotees etc. The dramatic as well as functional use of
'Yavanika' was there. It was used for the entrance as well as
the exist of the characters. The uses of 'pandham, 'peedom' and
'Nilavilakku' were there.
The music was done in a raw manner. The raw objects like
vessels, glasses, spoon etc. were used as musical instruments.
It was not at all in a set-pattern. The music was a mixup like
that in a ritual tribal-dance. The songs were sung in a folk
rhythm. Thus t h e a p p l i c a t i o n o f music was c o m p l e t l y p r i m i t i v e .
AI-4.10. Should t h e r e b e a n a c t i n g - s c o r e ( ' ~ t t a ~ r a k a r a m ) f o r such r-
a p l a y a s C.N. o p i n e d ? You y o u r s e l f have s u p p o r t e d t h i s
i n one o f t h e d i s c u s s i o n s on t h e a t r e . T h i s i s t h e v e r y
p r i n c i p l e o f a c t i n g i n t h e r i t u a l a r t s - f o r m s , ' Is t h i s
d e s i r a b l e i n t h e a t r e ?
There s h o u l d b e a n a c t i n g - s c o r e f o r e v e r y p l a y . T h i s i s
n o t t h e f i x e d a c t i n g - s c o r e o f t h e r i t u a l a r t - f o r m l i k e t h a t o f
'Theyyam , M u d i y e t t u ' o r . P a d a ~ a n i ' . The a c t i n g - s c o r e o f a
p l a y i s e v o l v e d o u t o f i m p r o v i s a t i o n s d u r i n g r e h e a r s a l s . I t i s
e v o l v e d t h r o u g h a combined e f f o r t of t h e d i r e c t o r a s w e l l a s
t h e actors. When a p l a y i s d i r e c t e d by d i f f e r e n t d i r e c t o r s
d i f f e r e n t a c t i n g - s c o r e s w i l l b e t h e r e . A s f a r a s t h e r i t u a l
a r t s are c o n c e r n e d , i t i s n o t 1 i k e t h a t T h e y are pe r fo rmed a lways
i n t h e s a m e manner.
. AI-4-11 HOW s h o u l d r i t u a l a r t s i n f l u e n c e modern ~ a l a y a l a m r
. T h e a t r e i n i t s s e a r c h f o r a n i n d i q e n o u s T h e a t r e ?
I t h i n k t h a t t h e ' h o l y ' a c t o r - c o n c e p t c a n b e r e a l i s e d o n l y
by t h e p e r f o r m e r i n r i t u a l a r t s . The v e r y c u l t u r e o f t h e i r
f o r m a t i o n i s t h a t . B u t t h e r e i s n o t h e a t r e i n t h e s t r i c t s e n s e .
T h i s h o l i n e s s i s l o s t i n t h e M o d e r n T h e a t r e . I a lso t h i n k t h a t
full holiness cannot be retained in Theatre which . starts
where ritual ends. Theatre is an off-shot of ritual.
AI-5.0 AVANAVAN KADAMPA
INTERVIEW WITH KAVALAM NARAYANA PANIKKAR 7-1-1993&17-11-93
AI-5.01 What is the definition of ritual? How did it
oriqiniate? How is ritual and theatre connected?
Ritual is an archetypal concept. It is a symbolic action,
doing something representing some other thing. It can be
defined as a solemn ceremonial act or observance in accordance
with prescribed rules. It is from rituals that theatre evolved.
It was also said that it was from the Vedic rituals that drama
evolved. Thus ritual and theatre are intriscially connected.
Ritual also involves an indescribable plane of relationship
between man and man. The scope of ritual is vast. 1.n all
rituals there is a poetic and interpretative plane involved. It
may have its origin in magic, religion or witch-craft.
AI-5-2 How did you come in to the strain of traditional
culture ('thanathu') of Malayalam Theatre?
The search for an indigenous theatre of Kerala started
with the theatre-workshops, first at Sasthamcottah and then at
Koothattukulam. I was a participant in Kuthattukulam theatre-
workshop. There were C.N., G. Sankara Pillai, Ayyappapanikkar,
M.V.Devan etc. They named the workshop as 'Kalari' . It is in these Kalaries there began the meaningful search for the
immense potentiality of the actor's body, in Malayalam
Theatre. But even from the beginning of the sixtees, I had been
actively involved in the search for a new theatre-form in
Malayalam. We had a theatre-group called 'Koothampalam' in
Alleppey. I believed that all literary forms including poetry
emerged from performing arts. This mutuality between performing
arts and other forms including theatre is a peculiarity of
Kerala's culture. My first venture towards an indigenous
theatre was Sakshi which was published in 'Kerala Kavitha'
along with G.S'S piratham. Then after a series of experiments
the play 'Daivathar came out. I consider Daivathar as a land
mark in the search for an indigenous theatre of Kerala.
AI-5-3. Were you aware of Artaud's or Grotowski' experiements
in actor and audience concept at that time?
Certainly I was aware of the Western theatre-experiments
of Artaud, Grotowski, Stanislavsky, Brechtetc. At the same time
I was very much aware of the indigenous theatre-culture of
Kerala, which is in no way lesser than those. And, I had the
belief that our theatre should evolve from our own ritual arts,
from our own folk-tradition. I was influenced by the western
traditions ofW.B.Yeatsand T.S.Eli~talOngwith Bhasa and Tagore
of Indian tradition.
AI-5-4 How do you use myths in your plays? In 'Karimkutty' the
myth used is said to be narrated to you by your mother.
In 'Daivathar'. it seems that there is a deliberate - creation of myth. What about treatment of the myth or
myths in 'Avanavan Kadampa'?
I have taken myths in two or three ways in my plays. Oneis
to interpret an existing myth (Eg. 'Karimkutty ) . Secondly to
create a parallel myth with the existing myth to make it
reinforced ( E g . Treatment of myth in 'Kaikuttappadu'). The
third is to create a myth upon an existing event (Eg. in
a). In Kadampa old and new myths are adopted to
interpret the modern society. All people stumble over a
'~adam~g, . . which it self is having a mythical quality. The
journey towards 'valadikkavu', the killing of <vattipanakkaraL by
'Erattakannan Pakki , the love-af f air of 'chithirapennu ' and
'Vadivelan' etc. are created myths. There is always an element
in all myths, which is shared by all the sections of the
society.
AI-5.5 In what all respect ritual arts influence our theatre?
And, what ritual arts influenced Avananvan Kadampa?
The dyngmics of actor and audience works differently in
ritual arts and theatre. In theatre actor is not like a shaman
(as in ritual arts). He has the ability to become the character,
to free from it, or to change from one character to another.
Therefore, the actor has to acquire ability more than the
'~elicha~padu: An actor should be able to return from his
transformation even from an action developed through a ritual.
But this transformation-element is there both in ritual arts
and in theatre.
I am of the opinion that even in the very composition of
the play, ritual arts may influence the playwright. The
traditional element in me was reinforced in writing as well as
in presentation when I did Bhasa's plays in original Sanskrit.
Avanavan Kadampa' is influenced by ritual arts through many
layers-in the preparation of the actor, space of performance,
constume design, using stage properties of the ritual arts of
'Padavani, Mudiyettu, Theyyam etc. and also in exploring the
possibilities of the indigenous form of lighting used in ritual
arts.
AI-5-6 What is your concept about actor-training? How was the
actor in Kadampa prepared' How were the ritual sequences
created in the rehearsals?
The basis of actor-training is to depersonalise him from
his usual self. More than that "who am I?", the actor should be
depersonalised to the extent of feeling that 'who am not I?".
TQ) this extent, his body and voice should be modulated. From his
ordinary mould, the actor should be changed in to an extra-
ordinary one. Here there is an element of artificiality. We
should know that real art is the artificial presentation of
life.
In the preparation of the actors in Kadampa' there was
the influence of the total culture of ritual arts. There were
workshops in U i , 'Vglakali , Padayani etc. conducted
for the actors*$ The steps of Padayani, and Kalari were being
practised by the actors.. This is necessary for the existence of
mutuality of the actors in theatre. These are taught not with
the intention of staging a single play, but it is meant for all
the plays.
The ritual sequences of the play had been evolved through
collective improvisations of the actors. It was G.Aravindan who
directed the play. He gave full liberty to the actors. Endowed
with a wonderful sense in music, and costume, he could
contribute to the play in its varied dimensions. Gopi (Bharat
Gopi), and Venu (Nedumudi Venu) could contribute many sequences
in action through their histdonictalents. The final script of
the play evolved after the. improvisations. It took ninety
days' intense rehearsal for the preparation of the performance-
text.
The actors were taught 'tantrzs', 'Vedas: 'chanting',
'~edamudras', 'uran juthullal' in Theyyam, to become 'piniyall etc.
They were also taught to make their voice artificial like that
of the voice in'chakkyar:
By teaching them extradaily techniques (Eugenio Barha),
the actors were lifted to a non-realistic plane which helped
them to discover 'the otherness' in them. This was the basic
aim of training. The training was essential to present
characters with mythical touch. (Transformation in the actor
should happen consciously).
A I - 5 - 8 How are the costume of ritual arts influence your
theatre? How was it is 'Kadampa'?
In any art, including theatre, imitating some other art
form is not desirable-When we directly imitate some art-forms,
it would seem to be that art-form, not theatre. We have only to
take theatrical spirit of the art -form, in its different
dimensions- This is applicable to the influence of costume
also. For bringing in the influence of ritual, 'Kuruthola'
(tender coconut -leaves) are used. When the play was staged in
Greece, instead of 'Kuruthold' foliages of trees were used. It
was an effort to know whether nature can be made part of the
play, as in ritual arts. Generally, in the costume design of
of the play, there was the influences of 'Theyyam , Mudiyettu
and Padayani .
AI-5-9 How was the us; of staqe-props? What was the ritual -- influence in it?
9 < There was the use of 'Yavanika; '~eedom, crown* made of
grass, and palm -leaves. All these were with the intention of
creating moods. The use of 'Yavanika' is an influence of the
ritual arts. I had known about its use from Bharata's
'Natyasastra'. Bhasa has also done very ingenious use of
'Yavanika'. Here 'Yavanika' is used thrice for the entrance of , d
Kttappandarangal.-. Nilavilakku' and 'Nirapara' are used thrice
during the dance-sequences. All these gave a ritual atmosphere
to the whole play.
AI-5-10 How was the ritual influence of music in Kadampa?
We have to identify that the rhythm in the ritual arts is
a powerful source of communication. The musical instruments
employed in Kada*~ -- were 'Chenda', 'Kuzhal', 'Elathalam',
'Edakka', 'Thakil' y all are taken from ritual tradition. A
rhythm called 'Savathalam' was recreated with the infuence of
the rhythm in ,Padayani'. Likewise, in many action-sequences,
music was improvised. Theatre-music should be different from
ritual-music.
A1.5-10. How was the audience in Kadampa? What is the
difference between the audience in theatre and that in
ritual arts?
What was the diff~rence, when the play is staqed in open
air and proscenium?
The 'real audience' in ritual arts is different from the
audience in theatre. In a ritual theatre the audience must have
the willingness to be with us. An audience,who resents the
participation, is not at all needed in such a theatre. The very
creation of ritual atmosphere in the play is to prepare the
audience. With the preparation of the play itself, the audience
is also prepared. All actions in the play become a part of the
audience too. In this respect too ,'Kadampaeis relatedto ritual
arts. When the play was presented in open air, Gopi confides
that it gave the actor boundless freedom. The proscenium
concept of the theatre was an imported one. We know all our
traditional art-form were presented in environmental theatres
like in temple-premises, Open air presentation of 'Kadampa' is
a clear influence of ritual arts in it. The audience showed
more participation in the performance in open air
presentations.
I-5-11 How is your theatre-concept related to'Artaudls or
Grotowski's (i) in the preparation of the actor (ii)
in the concept of the audience (iii) and in other
external elements of theatre?
I have been completly aware of the theatre concepts of
Artaud and Grotowski. All the while, I gave more stress to the
actor as well as audience-concepts in our own ritual arts. We
know that Artaud himself formed his theatre-concept of cruelty
after he had witnessed the ritual dance of the Balinese. It was
so with Peter Brook. After he saw Theyyam, he reinforced his
theories. Grotowski was also inspired by the actor-preparation
in Kathakali; When I studied them, I understood that there was
more in'our own ritual art -traditions.
AI-5-12. What should be the stronqest phase of rnodernmalayalam
Theatre? Shall it be the phase with the influence of
the ritual arts like your Theatre?
It is an indisputable fact that our theatre should have a
strong foundation. Even when we absorb something from an alien
culture, we should have something of our own. Indian theatre is
a combination of all cultures of our indigenous art-forms. I
believe only in such a theatre. My theatre is recognised to be
such a one. It has come in to existence through a long process
of evolution and experiments. If my theatre-culture with its
ritual influence will evolve as the strongest phase of
Malayalam Theatre, I will be the most happy man.
MUDEVI TIIEYYAM
AI-6.0 Interview with S.Ramanujam 29-11-1993
AI-6-1 What is the relationship between ritual and theatre?
Ritual is not merely some recitation or 'mantras'. Some
actions like gestures or 'mudras' are connected with it. Ritual
is a kind of convention deeply rooted in society. Making
convention is also the basis of theatre. This is a common
element in theatre. In all rituals there are some way of
enactment which is connected with theatre. Physical as well as
spatial performance in ritual arts is in a way, an extension
of rituals in our culture. (Eg. '~alam ~arakkal' and '~alam
~~yikkal' in 'Mudiyettu ) . This action-part of rituals arts is
to be absorbed intotheatre. There is the power of action in
theatre which Artaud wanted to take into theatre.
Also, the belief-part of the actor in Ritual arts is also
a lesson for the actor in the theatre. The effort on the part
of the actor (with a difference) should be there (Ref: to Staqislav-
sky'smemory andbelief). It is the duty of the actor to make the
audience believe that he is doing something.
Theatre is indeed for entertainment and enjoyment* Rituals
are not. In theatre the audience comes for enjoyment But in
ritual arts, the audience comes for participation. The
transformation-level occurs in the performep in Ritual arts and
in the theatre is different (Eg. The transformation in the real
'~elichap~adu), and a 'velichappadu' in theatre as in the
'velichappadu' in , 'Karuthadaivam' and the 'piniyal' in
'Mudevi Theyyam ) .
But ritual enriches the power of the action, influening
the actor as well as the audience. The element of power in
ritual is a lesson for the theat-re worker.
AI-6-2 Was there any specific training qiven for the actors to
prepare for the performaace? How much time was taken for
rehearsal before the first performance of
'Mudhevitheyyam'?
There was continuous and intense rehearsal for thirty
days. I studied Theyyam, spoke to Theyyam-artises and thus a
mental background was prepared first of -all. . .
I asked the actors to move with Theyyam-artistes, even I
engaged a Theyyam-artistein the performance*
In the play only at the beginning and end Theyyam is
coming).. the rest of the play is in a realistic plane. The play
is almost like a nostalgic memory of a person about Theyyam.
AI-6-3 How was the myth treated in the play? Was it an invented
one or a myth already existing?
It is a combination of so many myths, the predominent
part, being'~uchi1ott-~hagavathi' . It is moulded story, in that sense, the myth is a created one. The playwright had the idea
that the play should not seem to be written for incorporating
Theyyam- My idea was also not to present'l'heyyam on the stage.
AI-6-4 In scene 2 of the play, the concept of conducting the
exocist-ritual 'Sarpapooja' is given. In scene 3, an
elaborate performance of '~arpa Poo ja' is given when this
ritual is taken in to the play, was there any theatrical
chanqe effected? What was its function?
Even though in the script, there is the actual 'sarpapoo jg,
I have not used it as it is. I have used some kind of an oracle
by a woman* We created a ritualistic environment (with the help
of A.K. Nambiar, a rythm was given). It was to effect
possession in the actor. But the actress was transformed only
to .an extent.
The ritual is a device of the dramatist to mythification.
Oracle is a part of religious faith. It is to make the people <
believe to go to ~anjiramaram) and touch it.
AI-6.5 =were the actors prepared in 'MudeviTheyyam'? Was
there any influence of ritual arts? What were the
context of ritual-arts' influence In '~udevi Theyyam?
The actors were already prepared by the school of Drama*
They were given completly an Indian atmosphere- As for the
realistic part, they actors had a gtanislavskian-system with
them* The Grotowskian style of preparing the actor was also
there.
The contexts of ritual arts.
i) Colourful festival atmosphere of Kerala, using bamboos,
'~uruthooli, leaves of mango tree etc.
ii) The introduction of the oracle -scene (Exorcist-songs
were introduced).
iii) In the introduction of '~alan-Theyyem' (only for a
few seconds the Kalan-Theyyam' was introduced). The aim was not
to present the ritual, but to make the rituals, theatrical.
AI-6-6. How were the movements and choreography influenced by
ritual arts? What are the Artaudian or Grotowskian.
influence.
I In the oracle-scene (Isarpapooja), the ritual choreography
is adopted. But all movements were improvised and created. The
basic rituals cannot be taken as they are in the theatre* The
theatre always wants a new idiom, it is combined of new
sensibilities, noble notions and feelings. Visually we have to
evoke the senses*
Remember, Mudevi Thevvam is only a play not a Theyyam.
(Artaud has given the real meaning of the theatre, he said that
the language of theatre should be discovered and the rituals
have the power to do it.) This was what I experimented in
'Mudevi Theyyarn'.
I created a visual language in theatre with the influence
of Artaud, Grotowski and others with my own way of direction. I
took elements from ritual- arts and made theatrical idioms from
them. Idiom means the way of presentation which makesus
understand something, not only emotionally, but intellectually '
also.. In the theatre we have to create new idiom.
AI-6-7. What about the transformation or transportation of the
actors?
The actor was, as if he was possessed, but he was not
actually possessedi This is really the language of the theatre*
There was a demarcation. Mine was not a copy of ritualistic
presentation, I was never worried about the transportation of
the actor, it automatically came.
AI-6-8. What is the difference between an ordinary play and a
play with a ritual-atmosphere when presented before an
audience? What was the experience of 'Mudevitheyyam'?
In Aranattukara and Delhi the play was presented>
(before rural and urban audience, in open air and in
proscenium).
In their rural presentations (Mudevi Theyyam and
Karuthadaivam), the people were easily identifying the ritual
elements in them, because they were already familiar with them.
But they accepted the ritual-idioms in the play as fheatrical.
The urban audience (in elh hi) were really thrilled by the
ritual elements, they wanted to see them more in the play. Even
without understanding the rituals, they accepted them as
theatrical language.
Here the rural aswell as the urban meet. This shows the
power of rituals as theatre -language. Here lies the real
significance of using rituals in theature.
What I made in MudeviTheyyam was just to create an
illusion of Theyyam on the stage, it was a kind of representing
something not directly showing something.
AI-6-9. Ritual influence on 'Mudevi Theyyam' and
'Karuthadaivathethedi'.
",Karuthadaivam' or 'Mudevi Theyyam is written for the
M'odern Theatre to use ritualistic elements ie. the Modern
Theatre should have the power of ritualistic elements. It is a
truth that we have to be stylistic to penetrate more into
life's experience. Rituals help us here. Rituals will not
evolve because of one person, it is evolved through a
collective mind. Collective consciousness makes a ritual
always. This is what happens in the theatre also.
AI-6-10. In the first scene, we see'~heyyam'is introduced. In
the last scene, there is the introduction of 'Kalan-
Theyyam' and 'Kandakaranns' - How were they introduced - theatrically?
. I have not taken them as they are. I have not introduced
any Thevvamsr Only a festival atmosphere was given-
'Kandakarnans' were introduced by me, not by the playwright*
They were from .&rishnanattom',. I thought it would be good
theatrical device. Theyyams were presented only for some
moments.
AI-6-11. How was music employed in the play? Any influence of
Theyyam? What are the stage props--used?
i So many 'thottams' from Theyyams are sung during possession- scenes. :
In the '~aruthadaivarn' , for intercourse. - scene ' ~ a ~ a ~ ~ a t t ; is I 1
used for all'symbolic represantation: - r 1
In .@udevi Theyyam, the use of music was functional. It is not
symbolic representation.
In .pludevi Theyyam' , colourful ritual - flags were
introduced. All ritual flags were introduced. All ritual
properties like tender coconut-leaves, etc. were used. Solid
ritualistic elements were brought there. In ‘~alan-t hey yam: the Kandakaranan were introduced with actual ropes, and shulam.
Thus the spectacle was intensified.
AI-6-12 How can we connect the concepts of Artaud and Grotowski
with the presentation of the plays?
As a director, I was well informed .of Artaud and
Grotowski. When I approached 'Budevi Thevvam', even though I
did not apply consciously these principles, they were a part of
the presentation. (It was the Balinese dance, almost like
Theyyam-dance. which influenced Artaud. In Grotowski, the
physical movements of the actor were the dominant thing as in
The constant Prince) .
The actors (the students) were well-trained, Kuttanchakyar
trained them in Koothu, Kannaperumannan trained them in
Theyyam, Kalari, teachers in Kalari, Mudiyettu Asan in
Budivettu.. .. Thus they were both trained in Eastern and
western cultures
A!--6-13 Was Grotowski, seeking for ritual-theatre.in essence,
in his concepts of the actor as well as the audience?
We are very much aware of his theories of poor theatre,
holy actor-concept, audience-participation.etc..
The essence of his theory is that the actor should remove
the blocks in him to become fully the character. He was
interested in preparing the actor (while Mayorhold and Brecht w€rc
thinking oftheapplicationofthe actor to the stage). Grotowski
went beyond the concepts of actor and theatre,.Hewentawayfrom
theatre r' But we cannot take theatre away.
AI-6-14. What should be the strongest face of modern Malayalam
Theatre? Is it with indigenous elements?
This question has to be answered with a wider perspective
of Indian Theatre as a whole. We can make use of the ancient
forms prevalent in India, to give a separate identity to our
theatre. In Malayalam, there are more forms of ritual arts. We
are going to ritual theatre to identify ourselves the root of
our theatre-culturey the root from which we have to form our
theatre-culture. For this, we also have to identify a common
thread with other parts of India. (Eg. The Geetha Govinda)
Similar pulses are happening in Tamil Nadu, Manipur, Bengal,
Karnataka etc.
Kerala Theatre derived from its own culture should be the
strongest phase of modern Malayalam Theatre.
AI-6-5 What is the position of Malayalam Theatre today?
G. Sankara Pillai had a meaningful theatre. He tried for
all forms of Theatre, Western styles and 'Thanathu'. But the
question is how should we assimilate the traditional forms. It
must be re-creation, not re-presentation. I think, the Malayalam
Theatre has to wait for another provocation for re-building.
A G N I
AI-7.0 Interview with Vayala Vasudevan Pillai. 26-11-1993
AI-7-1 How was your theatre-concept formed? What all elements of
the East and the West influenced you in that respect?
I began my theatre - career during the 70s. I wrote
Viswadharsanam in 1975. ~akkarasi, Kathakali, ~ampidikali etc.
were familiar to me. Then I began to study the otherforms of
ritual arts. I began to study the western masters like Artaud
Grotowski, Schechner, etc. afterwards. When I came to understand
the holy-actor concept of Grotowski, I realised that as far as
the indigenous theatre of Kerala is concerned, it is not a new
one. The concept is already there in the tradition of Kerala's
performing ritual arts like Mudi~ettu., Theyyam., .Padayanis,
Koodiyattom and '~athakali. In the sacrificial aspect of the
ritual performer, the holy-actor concept of Grotowski can be
perceived.
AI-7-2 How should a ritual influence theatre? When a ritual is
taken in to theatre what all chanqes occur in the actor
as well as in the audience?
I do not agree with taking the ritual as it is. A good
play should not take a ritual as it is. Here I may refer to
Peter Brook's comment that all past rituals are dead, we have
to re-create new rituals to interpret modern life. How should
ritual be recreated in theatre? We know that in all ancient
ritual arts, there is a particular culture of rhythm, colour,
music and movement. In the process of creation of a drama,both
in writing and in presentation this culture enters the play-
wright or director quite unknowingly. Here begins the ritual
theatre. In the process there is the replanting of the ancient
art -forms. When the audience witness such a play, there occurs
the dissolution of their outer conscience, and the representa-
tion enters into their internal self. I am of the opinion that
this happens to every type of audience irrespective of their
caste, creed or class. Then the audience recognise that they
are awake at heart and in their mind, they are alert. In this
respect the audience in the ritual arts and the audience in the
modern theatre become one. The individual through his mind
passes on the social mind, from there to ancient culture.
Fixing his mind in the ancient culture, he can compare the
contemporary life with the ancient one. It is in this respect
that ritual is relevant to the modern society,
AI-7-3 What is your idea about the actor in a theatre? What is
its relevance to the actor-concept in ritual arts? How
was the Actor in 'Agni' prepared?
Certainly my actor-concept is influenced by the ritual
tradition of the indigen-ous theatre of Kerala. The holy-actor
concept in Grotowski, had been there in our ancient theatres of
ritual arts. We know that the holiness is acquired through
intense training of the mind and body in all our ritual arts.
In 'Theyyam. or ,Mudiyettu' we see the element of sacrifice on
the part of the actor. It is this concept of sactifice that we
see in Grotowski. In preparing the actor in the school of
Drama, I lay stress to Eastern as well as the Western culture.
The elements of Kalari, Koodiyattom_, Yxa, Theyyam, Mudiyettu
Pada~ani etc. are taken along with Stanislavskian- system,
Artaudian theories and Grotowskian principles. All these were
intended to prepare the mind and the body of the actor.
In preparing the actor in i too these cultures
influenced me. a i was presented just after I met Grotowski
and interviewed him. Surely, therefore, the Grotowskian way 4
of actor-preparation influenced me. The actors in Agni' were
given physical, mental as well as vocal excercises, and an
intense rehearsal for about two months was given before the
first presentation. The action sequences were improvised
through a folk-lore culture in rhythum and movement.
AI-7-4 Please compare the transformation and transportation
happening in the performer of the ritual arts and in
the actor in a theatre. How were these in the actors of - ' Agni ' ?
The dual feeling of the actor as well as the character is
essential for the success of an actor in a theatre. But in the
performer in the ritual arts this dual feeling is less. Inspite
of the divine element in the performance, there is the feeling
of duality. While in performance,I witnessed,the actors passing
on to a transformation. But it was not up to the level of a
performer's transformation in ritual arts. But I had trained
them already to note the demarcation in the level of
transformation. Therefore, always they kept the feeling of
actors with them. So it was not very difficult for them to get
transported back to their original self. The self-alienation of
duality always worked in them.
AI-7-5. How was the myth in-~gni'treated? What is its ritual
significance.? --
The very concept of *i is mythical. 'Agni' is the symbol of
purification and destruction. Prometheus is the symbol for the
means of reviving strength in the weak. In the play this power
is symbolised through Unni. The burning pyre of the mother
becomes the symbol of power for the union of the divided
sons. They unite only with the sacrifice of Unni. This
sacrificial aspect becomes the soul of the play. Thereby, the
pray becomes ritualistic in essence. Thus the myth is recreated
here to interpret the modern life.
AI-7-6 The ritual concept of the audience in 'Aqni' ---
The play had been presented before different types of
audience. The ritual concept of the performance made the actors
and the audience united for a common creation as in a ritual
theatre. The experience of a ritual atmosphere was there with
the actors as well as the audience. Therefore, I felt the
audience also experienced a transformation and transportation. I feel
that the audience who could break into the inner meaning of the
play could lead them to a cosmic tragic vision of human life.
This conscience of the audience is connected with ritual. This
sharing of the tragic vision of life also happens in ritual
arts.
AI-7-7 How did rituals influence the costume desiqn of the
actors?
The design of the costume was like that in a folk-art.
The whole upper part of the body of the actor was laid bare.
Thus he was free enough to present his own body-language. The
body-dynamics of the actor was discovered by our own ancient
masters of Theatre, like Bharata. It has been from the East
that Westerner learned the possibilities of this potentiality.
The actors used the pattern of 'Kuthiyudukkal' (a type of
fixing the cloth around the waist), which was taken from our
traditional culture. This, the folk as well as the traditional
culture,influenced me in designing the costume of the play.
AI-7-8. What were the stage props used in the play? How were
they connected with rituals? -
I think, the whole atmosphere of the play is fertile
.enough to use ritual stage-props. Most of the stage-props were
improvised through the body movements and postures of t h e
actors. A '~avanika'was used at the time of the myth-enactment
of Prometheus's story. The use of '~avanika' is for theatrical
function. In the place of 'peedom' different planes were
indicated on the stage. By the use of this, the central symbol t
'Agni', the reinforcing symbols of the river Ganga and the t mother, could be projected on the stage through out.
AI-7-9. How was the ritual influence of music : liqht used in --- -- 'Aqni'?
The basis of the composition of 'Agni' is 'Thauryathrika'
(Geetha, Nritha, Vadya) I treated the myth of Promethius in a
poetic way- The musical instruments mainly used were 'Chenda'
and 'flute' . They had their own roles in the ritual sequences of the action in the play. The ritual application of light was
employed in the Scene where Unni brings 'Agni'r Originally I
had the idea of using 'Choottu' (bundles of dried coconut
leaves) as in 'Theyyam. or Padayanit But thelimited scope of
the proscenium prevented this application. The chorus comes
with burning-torches in their hands and surrounds Unni with a
ritualistic dance.
AI-7-10 How should a modern theatre-worker draw inspiration
from ritual arts in a positive way;
This is often left to the freedom of the artist. In modern
Malayalam Theatre, there occurred good presentation drawing
inspiration from ritual arts. C.N.'s i , G-S'S 'Mudevi
Theyyam', 'Ekaki', 'Karuthadaivathethedi' and most of Kavalan's
plays are examples of this. Talented young Playwrights like
Narandera Prasad, P. Balachandran, Baby, N.Prabhakaran etc. /
have the.'. . roots of their theatre-concepts in the ritual-arts
tradition. It must be mentioned here that there had been
negative influences. The replanting of the outerstructure of
the ritual arts would only weaken the power of presentation.
This is against the very concept of Theatre. In my opinion this
must be prevented to remove the misunderstanding in this search
towards discovering an indigenous theatre.
AI.8.0. Interview with Gopalakrishnan
(Main Actor in Sauparnika)
20-1-1993
AI.8.1. How do ritual arts influence '~auparnika'?
The very atmosphere of Sauparnika is ritualistic.
Footworks in Kathakali, Mudiyettu, Padayani etc. have
influenced the movements of the characters very often. The
very concept of 'Yakshi', the temple, the Brahmin family etc.
are ritualistic. The employment of masks, 'Kuruthola', Stems of
plantain, 'Kothirithattus', the rituals during Unni's
'Upanayana' etc. provide an aesthetic ritual atmosphere to the
play.
AI.8.2. How is the myth treated in the play?
The treatment of myth in the play can be interpreted
differently. The playwright himself says (P-23) that the very
concept of 'Yakshi' is the desire incarnated. A simple
interpretation can be possible by saying that the carnal desire #
in man leads him to an inevitable tragedy. '~au~arnika is also
the power which leads Venmani from ignorance to knowledge. May
be out of this obligation, Venmani becomes a slave to that
power. In this respect it has got a current relevance.
'Sauparnika' may be the embodiment of womanhood, in the
imagination of the palywright, while 'Tatri' the stark reality
incarnated existing in the mundance plance. 'Sauparnika' may
also be the symbol of all values. A good director can
interpret the play differently.
AI.8.3. In what all ways, the sequences of action in the play
infuenced by ritual arts?
Some sequences can be given as examples. In the
'Kalamvarakkal' scene (P-24), a 'Yavanika' with a picture of
'Yakshi' drawn on it was already spread on the stage. It was
slowly raised in an atmosphere of chanting 'mantras' as if the
'Yakshi' was rising and emerging from it. The 'mantravada'
scene (P-22) was improvised by the actor Murali. At that time
'the chorus' produced a 'Mantradwani' in the back-ground, and
thus a 'tantric' atmosphere was created. It was actually a
recreation of a scene in 'Mantravada'. The upanayanasceneof
Venmani and the 'sloka' at the end of the first scene, created
a ritual atmosphere. The concept of the character 'Muthachan'
itself is choric, prophetic or shamanistic. Similarly,the oath
scene (P-38), the 'upanayana' of Unni, the curse of 'sauparnika',
the death scenes of '~uthacchan', '~chan' and"venmani' are charged
with ritual atmosphere. The death scene is presented with a
ritul tribal dance.
AI.8.4. How were the uses of stage-props, music and liqht in
the play? Were there any influence of ritual
performing arts?
There was the ingenious use of 'Yavanika' with theatrical
functions. The use of 'Peedom' was made use of with a bench of
a nine inches height. Four small masks were used. The 'homa'
scene of '~aladi' was presented through a dance of the chorus
using masks. 'Mrithangam' , 'Thampuru' and'l lathalam' etc. were used as musical instruments. For preparing the 'Yakshithara',
'Kothirithattu' and 'chirath' were used. Through an ingenious
use of 'Naithiris' the consummation scene of 'Yakshi' and
Venmani was presented. Thus, the use of light was generally
influenced by traditional concepts.
AI.8.5. How was the audience participation in the play?
When a play with ritual influence is presented, there
would be more participation of the audience in the emotional
level. Sauparnika is written for a proscenium stage, and the
audience take it like that. The limitation of a proscenium
stage was there. I think, it was appreciated by the audience
more in the aesthetic level. The enchanting music and the
poetic treatment of the spectacle, made the play a beautiful
creation.
AI.8.6. What message should the modern Malayalam Theatre
receive from the ritual performing arts?
As an actor, I feel that the strongest element in the
ritual performing arts, is the extraordinary power shown by the
performer. This is a theatrical lesson for the actor in the
Modern Malayalam Theatre. Similarly the aesthetic and /
meaningful spectacles of the costumes give many lessons to the
Modern Theatre. In search for a new and powerful Theatre in
Malayalam, the take-off board would be the theatre culture of
the ritual arts.
NADUGADDHIKA
AI.9.0 Interview with K.J. Baby
22-10- 1993
AI. 9.1. Please explain the ritual '~addhika'.
It is a ritual prevalent in the aborigines 'Adiyars'. It
is performed as an exorcist-ritual during the time of illness
or epidemic or on a haunted person. When affected by these, a
family may ask 'the ~addhika'-group to perform the ritual in
their hut. The group with the leadership of a 'Mooppan' may go
there, singing songs in praise of ' ~ i v a or '~avilamma' and would
perform the ritual. '~aduqaddhika' is performed only once in a
year. This is to exorcise the illness of the whole village by
'the ~addhika'-group. This is usually seen in Thirunelli in
Kannur. Wearing peculiar costumes, making 'Guda' (small temple
like structures) with fire-wicks fixed on them, the gorup would
go to every house of the village. Singing and moving, in a
certain pattern, they would approach the door where the patient
is lying. When the patient comes out, the group through a
trance-dance would exorcise the illness.
The leader of 'the GaddhikaV- group would wear a piece of
red-cloth around his waist and a white one around the head.
They would have lights in small earthern cups. Usually,
Gaddhika would be performed during day time. They would be
given rice and other eatables from every hut.
After that they would return, all the people accompanying
them as participants. No female member of the clan would join
the group. After completing their round, they would reach a
part of the forest, where they would eat out all the things got
as offerings. The origin of this ritual may be out of the fear
of epidemic like malaria.
AI.9.2 Who are the spectators in the ritual?
As in all other ritual arts, there are no spectators in
this ritual. There are only participants. All people who come
to witness the ritual become the participants automatically.
Sometimes people who come from outside, just to see it as a
spectacle or to study it may remain as audience in the strict
sense of the term.
AI.9.3 Why have you based your play on the ritual Gaddhika?
Before staging or writing Naduqaddhika, I had no prior
knowledge about theatre. I had no acquaintance what so ever
with a formal theatre or play. My acquaintance with theatre
began when I created an art from 'Apoorna' (I fear to call it a
play) and staged it. The response from the audience,
especially the Adivasis, was very inspiring. Thus a theatre-
culture was born in me spontaneously.
It was then I happened to see the Gaddhika ritual one
day. I discovered it as the most appropriate form to register
my protest against the age old exploitation of the Adivasis,
irrespective of the changing rulers. The exorcist form of the
ritual is most suitable for the exorcism of the maladies of the
modern society, I felt. Thus the origin of the play was
spontaneous, hence its power of purity.
AI.9.4 Who were the actors in 'Gaddhika'? Are they connected
with the original performance of the ritual?
During the first phase of performances of the play,most
of the actors were directly connected with.the ~addhika' ritual
itself. Some of the actors were performers of the ritual. SO
the play had tremendous success when staged in Adiya-centres.
They took as a part of their life - their life's experience. But when the play was staged in urban centres, the urban
audience took it only an art-form. There was less emotional
sharing. This clearly shows the ethnic difference of the
audience. O n hearing the utterance 'Paikinto' at first the
Adivasi-audience used to laugh, but when it was repeated they
began to cry. So much was the emotional sharing. All the
Adivasi-audience saw the play as their own life.
AI. 9.5 How was the ritual 'Gaddhika' utiliu~d i n tlin p l n y ?
It seems that so many times it is rep&ed in the play. . Was it done for more theatical effect or to attract
the Adivasi audience towards it?
When I took the ritual into theatre, I had not taken it
as it is. I have taken the basic movements and the steps.
And, the concept of going to every house of the village, by the
'Gaddhika- group is also absorbed into the play. As the
Gaddhika-group goes from one house to another along with its
participants, the drama troupe, after staging at one place,
goes to another with almost all the participants.
A1.9.6 Music in the play
I have not taken Gaddhika-songs as they are to the play
but composed songs of the same rhythm. The underlying rhythm
of the play is the basic rhythm of Gaddhika. ritual. When the
actors sings the songs with the rhythm, the adivasi-audience
suddenly recognize, it and involves into it emotionally. Their
musical instruments like 'Thudi' and 'Kuzhal' and 'Chola' are
used in the play. 'Chenda' is used when Thampuran enters and
exists.
AI. 9.7 How were your actors prepared before the first
performance?
Before the first performance, continuous three months'
training was given to the actors. The adivasis were not at all
endowed with particular histrionic talents. But my first play
Apoorna took about one and a half years to be completed. It
was difficult to make the Adivasis, the characters of
Adivasis. Formal theatrical exercises were unfamiliar to me,
but I gave them other known physical exercises. I tried to
shape in them what was really in my mind.
Today, after my acquaintance with training process, I
tried to do some theatre-games with them,which would provide
physical and mental exercises to them. This would continue
from morning to evening, After some weeks' training physically
and mentally, they would be changed, would be ready for
performance without any stage. fright.
As about actor's contribution, when Naduqaddhika was
rehearsed, as most of the actors were Adivasis and some were
directly connected with 'Gaddhika' ritual, they could
contribute immendy in music, rhythm as well as movements,
which were their culture and which sustained as the background
of the play.
AI.9.8 When they come as characters, are there occurring anx
transformation in them?
During the first performance phases. this used to occur,
especially to those actors who were Adivasis themselves. The
play ends in a violent ritual movement akin to that in
~addhika: After this,they would be completely exhausted and it
would take some time for returning to their self. The dance
would be according to the rhythm of their 'Thudi' ("Taint.. . Taint...) They would use their whole body for the dance. But when
the play was repeatedly performed, this transformation seemed
to be quite mechanical.
AI. 9.9 What about the costume used in the play?
The actors would put the costumes themselves. Deep
colours would be used. The paste used in the play is the same
used by the women of the community.
I The narrator or '~addhikakkaran, wears the same red piece
of cloth around his waist which acts as the symbol. It has got
the functional use towards the end of the play. After
'~addhikakkaran' is arrested and taken away there is a struggle
on the stage to possess this piece of cloth and the person who I
gets this becomes the next '~addhikakkaran. All other costumes
are designed to suit the characters.
AI.9.10 Please explain the use of myth in the play.
While I was wandering and sometimes living with these
tribes collecting some tribal songs, a wonderful myth of the
goddess 'Mali' was sung to me by a tribal girl. In those lines, ,
I saw a mythofMelorachan and Keeyorathi which intellectually
enslaved these Adivasis from ancient times. From it, it was
very clear that more than the physical enslavement, it was the
mental enslavement inflicted on these helpless people. (The
myth is explained in detail in my novel 'Mavelimantom' - pp 26-40) (the myth is referred to p.20 of the play).
AI.9.11 How was your experience in audience-participation?
It was really the audience participation that made this
artistic venture a play. Where everwe went, the response of
the audience was nearly total. When the audience were the
Adivasis, of course, the response was greater; they felt as
participating in their own rituals. In some places, the
performance equalled to a festival. At the end of the play,
the audience would rush forward, and there would be a group
dance of the actors and audience.
I believe the success of the play lies in the perfect
balancing of efficacy and entertainment.
When the play was taken out of the rural areas and
performed before the urban audience, the response was slightly
different. Their view point was to enjoy an art-piece, not to
participate in it. Some places we were forced to present the
play in proscenium stage. Not only it limited the power of the
play, it curtailed the immense freedom of it in its varied
dimensions. So, at heart, I am vehemently against presenting
the play in proscenium.
AI. 9.12 Again some questions about the actors-
You said. in some cases, there occurred a transformation
in the actors. Whether it happens or not, how do the acgors
return to their original self after the performance?
In actual ritual of 'Gaddhika' the main performer
(~oopan') goes into a trance-dance. He returns to his self by 1
drinking water mixed with 'Kari'. It is a part of ritual
(Novel-Maveli Mantom p.170). In the play, after the
performance, there occurs a natural cooling process. After
removing their costume, they drink, smoke, chat and comment
upon the performance.
~1.9.13 Properties used in the paly.
There is no use of 'Nilavilakku', 'Yavanika' or any
planes. Even the make-up is usually done openly.
AI.9.14 In the play (p-49) there is a referenceofthe
emerqence of 'Rakthakolangals'. What is the
significance?
The underlying tone of the myth is really brought here. 1 t
The Kolams are actually '~elorachan' and keeyorathil referred
earlier. The character, 'vella: is crying out to them for help. /
They were conceived to be converted into Theyyams coming to
the help of the helpless girl. In the play they are dancing
in between Thampuran and the girl. The movements here are
borrowed from Adiyark ' m a ' .
PULIJANMAM
Interview with N. Prabhakaran
AI.10.0 How should modern Theatre get inspiration from ritual
arts? How was the influences of Theyyam or other ritual
arts in 'Pulijanmam'?
AI.10.1 I have been born and brought up in the culture of
Theyyam. When I witnessed the ritual performance of the famous
Theyyam 'Pulimaranja Thondachan', the high element of drama in
the last moment of the performance where '~ari~urukkal' in the
form of 'Puli' roars helplessly, unable to get back to his
original form, fired my imagination. It is the belief in the
last scene which inspired me to write Pulijanmam. There was no
notion of the influence of Theyyam or any other ritual art to
influence my writing at the beginnig. However, a beginning
suitable to the last dramatic scene emerged in me. In the
presentation also the beginning and end were very successful.
Only the theatrical culture of ritual arts influence Modern
Theatre. As thetheme of Pulijanmam demands the theatre-culture
of Theyyam, all theatre - elements inherent in Theyyam
performance are absorbed into the play. In the play the dream
of 'Vellachi' is delineated through the folk-fozm,Chimmanakkali.
The dramatic end of '~ari~urukkal' was presented through the
ritual 'Thiruyuzhichil.'
~1.10.2. How were the actors in 'Pulijanmam' prepared? What were
the ritual influences in their preparation? How much
time was taken before the first presentation? Were there
any contributions from them?
The actors were already with the culture of Theyyam.
Some of them were even Theyyam-performers. Inspite of that,
they were given some theatrical exercises and training so as to
make them adaptable to the theatre. A continuous, intense
rehearsal for about three months was needed before the first
presentation. As the actors were well-versed in ritual arts as
well as theatre, they could contribute much, during the
improvisory sequences in rehearsal time.
~1.10.3. How wast he myth 'Pulimaran ja Thondachan' treated in the
play? In the introdcution of the characters 'Pottan',
'Gulikan' and 'Kurathi', how was the influence of
Theyyam?
In the original performance of 'Thondachan's 'Thottam'
these three 'Theyyams' are appearing. One of the best action
sequences of the play is the encounter of '~arigurukkal' with
these characters. They are presented as the symbols of
internal conflicts of '~ari~urukkal's self. In the play they
are appearing in the costumes of Theyyam with a slight
theatrical difference. The tone of the dialogues given to them
was not exactly Theyyam's, but the rhythm was kept there. the
movementsgiven to them are also adopted from 'the Kalasams' of
Theyyam.
A I - ~ O - ~ . Y O U have said that the most of the actors of Pulijanmam
were with Theyyam-culture. Were there any transformations
in them towards a trance as in Theyyam-performance? If
so it desirable? How was they transported back to their
oriqinal self?
Eventhough they were with Theyyani-culture, in the theatre
of 'Pulijanmam' they were specially trained only as actors. So
as in Theyyam-performance, they never went into a trance. But
as they were with ritual culture, the degree of transformation
was more thaninan ordinary actor, when I watched them after
performance, they appeared to be too much emotional, and they
took considerable time to return to their original self. I
felt that they were undergoing too much physical strain while
acting.
A.I.10.5 How was the influence of the performance on the audience?
Did the ritual influence of the play,change the response
of the audience? Did they rise from the level of
spectator to the participants as in ritual arts?
The play was presented both before the rural as well as
urban audience, in open air as well as in proscenium. There
was an emotional response even to the level of participation
among the rural audience. There was the experience that the
old generation telling the story to young ones to prepare them
to enjoy the play. Once, a spectator even gave money to the
director, taking him to be .'the parikarmi'. of a ritual art
(like 'Polikkal'). This meant that the audience rose to the
level of participants in the performance of the play. This
sharing by the audience was not experienced when the play was
presented before the urban audience. But there was the
nostalgic response from them. When the play was presented in
open air. the response of the audience was greater. When
presented in proscenium they remained only as spectators, with ?J
the tendency even to criticise the play. This never happened
in open air presentation. One thing, I can say for certain,
that the audience approached the play not in the conventional
way of seeing an epic or historic play. They recognized some
elements connected with their own life in the play.
AI-10.6 What.all ritual stage-props used in the play?
In the ritual presentations coconut leaves with a
particular design was tied in the place of the back curtain.
At the side of the performance space, decorations of tender
coconut leaves were given. 'Kothirithattu' made of plantain
stems was used on the stage in the last scene. The
preparation of the stage was like the place of an exorcist
ritual.
AI.10.7.What was the influence of rituals in the application of
music and liqht?
All thorugh the play the rhythm of Theyyam was given.
The main musical instruments were 'Chenda', 'Ilathalam',
'Edamthalachenda', 'flute' etc. Different 'Chats', lines from
'Thottampattu', 'folklore' hummings were used for theatrical
effects. The stage was illuminated by 'Naithiries' (ghee-lamps)
in coconut shell-haves throughout the performance, the use of
electric light was minimum-'Kothirithattu' with ghee-lamps was
used. In the climax scene of Gurukkal's fall, by an ingenious
use of ghee-lamps (Naithiris), a ritual end to the play was
effected-