Kalamandalam Rajasekharan performing Chintha Vishtayaya Sita.
| Photograph Credit score: Particular Association
Because the drums beat and the cymbals clashed, colored curtains trembled within the lamplight. It was a special form of Kathakali like no different.
‘Chintha Vishtayaya Sita’, one of many well-known poems of poet Kumaranasan, choreographed by Kalamandalam Rajasekharan, appeared because the second solo Kathakali efficiency of Sthree Vesham (feminine character), with the primary solo being Poothana Moksham.
The 90-minute play was staged by Rajasekharan, on the Regional Theatre of Kerala Sangeetha Nataka Akademi, as a part of the 59th anniversary celebrations of Thrissur Kathakali Membership, and as a gesture of gratitude for the gold medal introduced to him as an impressive artiste. The gesture appeared related as 2024 is being noticed because the a centesimal demise anniversary of the good poet.
Demonstrating his choreographic ingenuity within the play, Rajasekharan selected 25 shlokas out of 192 that narrate the lifetime of Sita in Valmiki Ramayana, from her delivery to demise. The play is an exploration of womanhood and sorrow and additional a synopsis of Ramayana itself.
Kalamandalam Rajasekharan performing ‘Chintha Vishtayaya Sita’.
| Photograph Credit score:
Particular Association
Show of virtuosity
The curtain went as much as present the brooding posture of the character, which spoke volumes of her disenchantment with life’s circumstances. Her ideas had been manifested into quite a few anecdotes offering the artiste ample alternatives to exhibit his histrionic potentialities.
The primary padam after the shloka starting with “Oru nischayamillonninum/varumoro dasa vannapole pom…” composed in Anandabhairavi and Chembada tala, epitomised her depressive temper. Within the elakiyattam, the artiste enacted her marriage to Rama and peaceable life within the palace. All the following anecdotes that unfolded by means of shlokas and padams had been organized in correct order, ragas and talas, enhancing the intrinsic message of the strains. Agile and nimble had been the mudras that interpreted the padams.
Efficient portrayal of Sita
The hanging function of Rajasekharan’s vesham is his portrayal of the feminine characters. And on this play particularly, his depiction of Sita, sporting a saffron sari and rudraksha round her neck, stood out. The costume indicated that she was within the ashram of sage Valmiki after being deserted by Rama.
One other noteworthy component was in the course of the agni pareeksha section, the place his actions conformed with the norms for a feminine character, he took care to not overdo any of the bhavas be it veera or rowdra. The libretto, being the poet’s personal verses, was simply understandable to the viewers.
Commendable was the vocal help by Kalamandalam Vinod assisted by Kalamandalam Yaswant. The percussion facet included Kalamandalam Raj Narayanan (maddalam) and Kalamandalam Nidhin Krishna (edakka).
An icon of Sthree vesham, Rajasekharan is the previous principal of Kerala Kalamandalam and the proponent of Thekkan Chitta (southern type). Properly-versed within the intricacies of each concept and technicalities of the dance-drama, Rajasekharan is the creator of Attaprakaram of Thekkan Chitta (performing guide) printed by Kalamandalam in three volumes, which continues to be a adopted syllabus within the establishment. His different works embrace Sthree Veshams in Kathakali and Rajalochanam, a compilation of his articles.
Kalamandalam Shylaja, his spouse is the previous head of the Division of Koodiyattam, and Kalamandalam Vysakhan, his son, is a widely known Kathakali artiste.
