The angst of a king
A. SANGAMESWARAN
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Ammannur Kuttan Chakyar excelled as Ravana in ‘Ashokavanikaangham.’
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many moods: Ammannur Kuttan Chakyar as Ravana.
‘Ashokavanikaangham’ is the fifth act of the play ‘Aascharyachoodamani,’ authored by Sakthibhadra, disciple of Adi Sankaracharya. In this act, Ravana tries to woo in vain a captive Sita in his beautiful garden. When all his efforts fail to move Sita, his attempt to kill her is foiled by Ravana’s wife Mandodari.
Interesting narration
The Chakyar narrates this incident over a period of 13 days. It speaks volumes of the potential of the the acting techniques of the Chakyars.Only three characters appear in this play – Ravana, Chitrayodhi and Varshavara. The character of Ravana appears on all the days except one; the actor playing Ravana performs alone for eight days and then with Chitrayodhi for four days.
The famed Koothambalam of Koodalmanickam Temple witnessed this play, considered a litmus test of a performer. Incidentally, this play was staged here 25 years ago under the leadership of the legendary Madhava Chakyar. This time, his nephew and disciple Ammannur Kuttan Chakyar along with Ammannur Rajaneesh led the show.
After the Purappad on the first day, Nirvahanam by Ravana was performed for the next five days. Here the story is enacted as a flashback, right from the abduction of Sita.
Solo act
A single actor portrays all the characters through the technique of pakarnattam. The 10 pairs of Ravana’s eyes vying with each other for a good look at the beauty of Sita – each part of the body depicted by different eye movements, a doubtful Parvathi asking her husband about Ganga, uprooting of Kailasa, Ravana’s encounter with elephants, killing of Jatayu … all the incidents were charmingly enacted by Ammannur Kuttan Chakyar.
The Nirvahanam of Ravana was followed by the Purappad and Nirvahanam of his minister Chithrayodhi. While Ammannur Madhav performed the purappad, Nirvahanam was performed by Ammannur Rajneesh. Rajneesh narrated the genesis of the moon during the churning of the ocean.
The piece de resistance of this act is the ‘Udhyanapravesam,’ on the final day. Here Ravana, in all his royal glory, approaches Sita and tries to win her over. Instead of the character Sita, an oil lamp and a folded cloth represent Sita. Even though Sita is a major character in this play, this character never comes to the stage in person.
This again highlights the variety of techniques incorporated by the Chakyars in their various acting manuals. Kuttan Chakyar excelled in the play – be it in the description of the garden, the movements of the peacocks or as Ravana yearning for Sita.
The play ends with Ravana’s unsuccessful attempt to kill Sita.
Narayanan Nambiar, Ramachandran Nambiar, Unnikrishnan and Sivadas played the mizhavu, while Nandakumar accompanied on the edakka. Aparna and Nithya took care of the thaalam. Kayyandam Neelakandan handled the chutti.
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