Ravana’s predicament

Ascharyachoodamani (The Wondrous Crest Jewel) of Sakthibhadra, the foremost among Sanskrit playwrights of Kerala, is unique since all the seven acts of the play was well-received on the Koodiyattam stage. The fifth act, ‘Asokavanikankam’ (the part narrating the events in the Asoka garden), is considered the touchstone of a thespian’s histrionic talent.

Following the Koodiyattam tradition, presentation of this single act would span 18 days.

Recently, connoisseurs in Thiruvananthapuram enjoyed an excellent presentation of the part, conventionally earmarked for performance on the 15th evening of the staging of Asokavanikankam. Margi Madhu Chakyar, who assimilated in full the nuances of performing this portion, donned the lead role of Ravana.

Sita as captive

Ravana, the King of Lanka, is smitten by Sita. He kidnaps her and keeps her as a captive in the Asoka garden adjacent to his palace. Subsequent to the ritualistic debut, Madhu took rasikas through a conventional piece of acting called ‘Panchamgam’ that brought out most sensuously the charisma of Sita’s physical features. He proceeds to describe the proverbial rivalry of the peacock’s plume against the alluring grace of Sita’s hair.

The moon’s rays seem to burn him like embers. He addresses the moon as ‘Himakara!’ meaning one whose rays are snowy. Ravana, drunk on his infatuation for Sita, tries to convince the moon that his weakness is due to Kama attacking him. His ego hastens to add that Kama could inflict pain on him only because he suffers pangs of love on account of Sita, who seems to have astonishing power as she withstands her grief of being forcibly separated from her husband even while relishing tasteless wild fruits and roots.

Nepathya Sreehari as Chitrayodhi   | Photo Credit: Jawaharji K.

The moon, being the master of the night, presumably knows the pain of the loved ones in separation. The next scene presented Ravana daydreaming about Sita. His minister, Chitrayodhi, approaches him with important tidings. Chitrayodhi manages to bring him back to the present and he tells Ravana about the death of Bali at the hands of Rama.

Master on stage

The scene comprising a detailed description of Ravana’s conversation with the moon is known in Koodiyattam parlance as ‘himakaram’. Staging of this scene raises numerous challenges to the artiste. Madhu met all of them with commendable confidence and ease, characteristic of a veteran performer. His presentation proved his enviable mastery over all the four major aspects of acting, namely emotional, gestural, verbal and appearance. Nepathya Sreehari Chakyar, who essayed Chitrayodhi, proved a laudable co-actor of his guru.

The orchestra, handled dexterously by Kalamandalam Manikanthan, was duly supported by Nepathya Jinesh on the mizhavu and Kalanilayam Rajan on the edakka. The programme was held under the aegis of the Koodiyattam Kendra in Thiruvananthapuram, of the Central Sangeet Natak Akademi.