CHAPTER VI

INFLUENCE OF RITUALS IN MODERN MALAYALAM THEATRE

Case Studies - PHASE I1

In the last chapter, it is attempted to illustrate how

the three Masters of the modern Malayalam Theatre; C.N.,

Kavalam and G.S. laid strong foundations for the development

of the indigenous theatre-culture of Kerala, drawing sustenance

from the ritual performing arts. The prominent playwrights of

the later generation, most them being the products of the

Kalaries, went deeper into the traditional concepts of actor

formation, actor - audience relationship and the culture of the spectacular elements of the ritual arts. While footing

themselves in the traditional elements of indigenous theatre,

they strove to develop a strong strain in the Modern Theatre

of Malayalam with their deeper insight and vision of those

concepts. As a result, the peripheral influence of the ritual

arts gave way to the influence of the inner theatre spirits in

those forms. The result was the strongest phase of Modern

Malayalam Theatre today.

Four representative playwrights belonging to this later

period (i) Vayala Vasudevan Pillai (Vayala) (ii) R. Narendra-

prasad (RNP),(iii) K.J. Baby (Baby) and (iv) N. Prabhakaran

(NP) are selected for close evaluation. Their representative

plays which are widely recognized in one way or other , are analysed from different angles of actor - concepts,

actor-audience relationship and other theatre externals to

study the extent of the influence exercised by the culture of

the ritual arts in them. Out of the four plays selected, three

plays Agni (by Vayala), Sauparnika (by R.N.P.), Pulijanmam (by

N.P.) won the Kerala Sangeeth Natak Akademy Award in 1983, 1985

and 1988 respectively. K.J. Baby's Naduqaddhika has been

acclaimed to be one of the popular plays of the last decade,

and is considered to be a land-mark in the modern Malayalam

Theatre. Among the still younger generation of playwrights P.

Balachandran with his Makudi, Pavam Usman etc., P.M. Taj with

his Kudukka, Manthravadiyude Ange Attom etc., Assiz with his

Chaverpada and Balikkakka etc. and other innumerable

playwrights, have been striving hard to discover a new

theatre-culture. The Chart (A-11) presents a list of

playwrights and plays exhibiting the influence of the new

trend. The playwrights are interviewed exchaustively to study

their ideas of theatre and how far they are influenced by

ritual arts.

6.1.0 Vayala Vasudevan Pillai - Introduction

The two Kalaries held in Sasthamcottah and Koothattukulam

drew young talents towards the modern Malayalam Theatre. The

young sters who participated in these Kalaries, (organised by

G.S. and C.N. etc.) got new awareness of theatre, in the

realm of actor-prepartion, audidence - concepts and the use of theatre - externals. Vayala began his theatre-career

in the workshops of G.S. During the beginning of his

theatre-career, he wrote plays under the existing

influences. His first play Viswadharsanam is new in its

treatment and poetic style. It wasC.Sankara Pillai who

identifed the folk element in the play. The play ~aravklppu

shows the clear influence of G.S.'s early plays. It is

with his Agni and Thulaseevanam he shows his marked identity as

a playwright in the modern Malayalam Theatre. In his

director's note to Agni he states the circumstances under which

'the play was written. It was in a workshop held in 1977 by

Kerala Sangeetha Nataka Akademy under the chairmanship of G.S.

the idea of writing the play was suggested tohim(~~36). He had

already the culture of the indigenous theatre of Kerala,

but he never wanted to make use of its peripheral influence in

the play.

6.1.1 Ritual-concept in Vayala

Vayala points out that every performance is a spiritual

extension of the society. Therefore, the elements existed in

one traditional performance can be retrieved to rejuvenate

modern performance and social life. These elements are almost

like a spiritual energy emanating from the environment and the

depth of social interaction (1992:41-43). When asked how

rituals should be made use of in theatre, he replied that, the

phrase 'to make use of the ritual' itself is a Colonical idea.

In theatre we cannot take rituals as they are. If we have to

take rituals in theatre as they are (as the 'Sarpapooja' in

Mudevi Theyyam) tb.e text should demand it. He recalls the

opinion of Peter Brook that all past rituals are dead, and we

have to create new rituals to interpret modern life. The

re-creation of rituals means, the process should enter the

emotional planes of the modern society. The intimate contact

with ritual arts should produce in us a culture of their

rhythm, colour, the actors' devotional aspects, the audience's

sharing etc. This culture should dissovle into the creative

process of the playwright as well as the director, while

treating the play. This process should give aesthetic

enjoyment to the audience also. It is in this way that rituals

and theatre are connected.

6.1.2 Actor-concept: ritual influence

Vayala is very much influenced by the actor-concept in

Grotowski. The holy actor-concept of Grotowski influenced him

in the formation of actors in his theatre (AI-7-1). He had a

direct contact with Grotowski, and had an exhaustive interview

with him. This influenced him in forming ~~otowski's

holy-actor concept which has been applied in Agni. He

points out that in the Indian tradition we have the sacrificial

aspect and intense desire to become perfect by means of one's

artistic technique.

"The sacrificial aspect manifests itself in annihilating

the performer's ego by devotion, discipline and the

social and communal involvement in the ritualistic

practice." (1992:41).

He points out the reference in Natyasastra that Indian

performance is 'cultural and spiritual re-enactment.'

6.1.3 About actor's training and preparation of the actor in

Agni.

According to Vayala, the ~r'taudian or Grotowskian ways of

preparing the actor age not a new thing for the cultural

tradition of Malayalam Theatre. It knows how much devotion is

given to the preparation of the actor in ritual arts like

Padayani, Koodiyattom and Kathakali. In Grotowski, the actor

is completely holy. This holiness is achieved through intense

physical as well as spiritual training. It is this holiness

that the performer in the ritual tradition acquires through

training. By this training the actor passes on from a worldly

plane. to an unworldly one. Vayala witnessed directly a

performance by Cielslak, Grotowski's actor who realized his

concept of an actor. He says that this can be very well

compared to the -devotional element in,any ador in the ritual

theatre of Kerala.

He, being the director of the School of Drama, prepares

the actor taking into consideration. . ' , .the Western as well

as the Eastern cultures. In the preparation of the actor, the

elements of Kalari, Koodiyattom, Yoga, Theyyam, Mudiyettu,

Padayani etc. are taken along with Stanislavoskian systems,

Artaudian theories and Grotowskian principles. Principles of

Bharata's Natyasastra are also taught. This is with the

inten,tion of preparing the mind and body of the actor.

In preparing the actors in Agni also these cultures

influenced him. Agni was presented just after his interview

with Grotowski. Surely, the Grotowskian culture was

evident. After giving physical, vocal and mental exsrcises to

the actors, intense rehearsal for about two months was

given. Action-sequences were improvised through a folk-lore

culture,rhythm and movement. Thus the actors were trained with

a ritual- concept. "The action of the performer is electrified

by the energy involved within himself in the context of a

ritualistic acceptance." (1992:42)

6.1.4 Transformation and transportation in the actors

The actor in the theatre should have dual feeling of the

actor as well as the character. This is essential for the

success of a good actor. To the performer in the ritual arts, I

this feeling of duality is less (N-37). Inspite of the I

divine aspect in it, the performer in the theatre has the I

feeling of duality. Vayala witnesses that during performances I

of Agni he felt the actors undergoing a transformation to a i certain level. He has taught them how to get transported back

to their original self. They were being made aware of the fact that

they were actors and not characters. While acting, the actor

should evaluate his performance. This alienation or duality

should work in him. He recalls here the Grotowskian comment 1

I

that ~iva'the universal dancer is the perfect model for all

actors.

6.1.5 The treatment of Myth in

The life-concept of ancient man is the beall and end all

of all myths. Therefore, myths connect.. the inner soul of the

ancient life with the modern- They are pictures of noble

visions of the old, passed on to us through the passage of

time. The bare emotions of man, mutual relationship, relation

with nature, love, sex, sacrifice, maternal and paternal

relationships, the concepts of the ruler as well as the ruled

are inherent in myths. Thus the influence of myth is all

pervasive in the tradition of man. The investigator who

searches into the roots of theatre-culture of Kerala would

touch upon these myths. Vayala tries to recreate some of the

traditional myths with full theatrical effect.

The very concept of ' ~ ~ n i ' is mythical. In the Eastern

concept 'Agni' is the symbol of purification and destruction..

In this there is a ritual concept. Prometheus . symblises /

the means of reviving strength in the weak. He is

punished. In Agni it is Unni . (like Gandhiji or Jesus)

It is the burning, pyre of the mother which strives to bring

about the reunion of the parted sons.Theyuniteonly through the

sacrifice of the youngest son, Unni. Whether the burning pyre

is extinguished by his blood or, inflames it, is

left to the imagination of the audience. In the inner

structure of the play, the myth of Prometheus is brought in.

It is a play within the play. Unni is acting the role of

Promethens of Greek Mythology.While transforming himself into

the real character, his brothers under the pretext of high

drama, deliberately stone him to death. Here the outer and

inner structures of the play are ingeniously fused. The myth

of Kannaki is indirectly referred to when Devi pronounces her

curses on the brothers of Unni for their annihilation. Thus,

the theatrical potentiality of the treatment of myth is

exploited to the full by the playwright. This adds to the

intensity of the ritual concept of the play. Thus the myth is

recreated to interpret modern life.

6.1.6 Audience : ritual influence.

K.S. Narayana Pillai points out,that the esthetic emotion

that Agni conveyed to the audience was very deep (1982:13). It

was the ritual concept of presentation that made it possible.

The actors' performances were examples of this freedom of

movement, their gestures and narrations were ritualistic,

helping the performer and spectator united for a common sharing

of experience as in ritual theatres. They also experienced the

transformation and transportation (AI. 7 - 6).

When the spectator witnesses a play with ritual influence

the periphery of the consciousness gradually dissolves, he

enters into the depth of his archetypal inner-self. He

unconsciously compares it with his traaitional culture.

This happens irrespective of the class-divisions of the

audience. He feels that he is awake at heart and alert in his

mind. It is at this point that the audience in the ritual arts

and the audience in the Modern Theatre with ritual influence

unite. Through his conscience, the spectator passes on the

social conscience from there to archetypal conscience. He

compares his own time with the old one. It is in this way

ritual is important to the modern society. (AI. 7 -2).

Narrating his experience of the audience when Agni was

presented, Vayala said that those who could break into the

inner meaning of the play could comment that the ritual

enaction of the play could lead them to a cosmic vision of

human life tragic in proportion (AI. 7 - 6). According to him

this consciousness of the audience is connected with rituals.

The sharing of the tragic vision of life by the audience also

occurs in ritual arts. In the ritual arts, the spectator is an

involved and attached witness. This was very explicit with the

audience in Agni. Thus from the point of the audience too Agni

achieves the dimension of a ritual play.

6.1.7 Ritual sequences in the action of Agni.

Vayala states that the whole atmosphere of the play was

ritualistic in presentation. Every sequence of the actions was

done from a non-realistic plane. The very beginning of the I

play is ritualistic, with chanting of 'mantras. The

play within the play, i.e. the enaction of the myth of

Prometheus was presented in a simple folk-style. The curse

of Devi on the brothers of Unni and its effect were presented

as if they were passing through three stages of 'Devas',

'Manavas' and 'Asuras', before they become solid rocks.

Similarly,the action of Unni, just after he was stoned to death by

his elder brothers, was presented like Christ's Passion - - , on the cross. Full sacrifice of the actor (like in

Grotowskian concept) was envisaged in these scenes. All the

possibilities of the actor's body and mind were exploited to

the full. Similarly,the symbols of the play like the boatsman,

burning pyre, the keepers, jewel on the hill,'~~ni: the swollen

leg of the ruler, Prometheus, the nomadic revolutionary,

v ~akkathi' etc. are created from a non-realistic plane.

The whole atmosphere of the play is fertile enough to use

ritual stage-props. Solid stage-props can be used. But in the

presentation of Vayala, most of the stage-props were improvised

by the actors, by making use of their body movements and

postures. A 'Yavanika' is used at that time of the myth

enactment of Prometheus-story. '~evi'becomes a child, changing

her dress behind the 'Yavanika'. The use of 'Yavanika' could

increase the aesthetic beauty of the action on the stage

and fulfil . a theatrical function. Some small sticks

were used to provide a folklore atmosphere to the play. In the

place of'peedom; different planes, were indicated on the stage.

Through this the central symbol 'Agni', the reinforcing symbols

of the river 'Ganga' and 'Mother' could be projected on the

stage throughout.

6.1.9 Music in Agni - ritual influence

The 'thauryathrika' process. ..(the application of Geetha

nritha, Vadyas)isit work even at the time of the composition of '

the play, says Kavalam (1988:26). A performance text based on

'thauryathrika' can be derived from the play Agni. Vayala

informs that the atmosphere of Agni is couched in

'Thauryathrika'. This is effected through rhythms, music, use

of musical instruments, the movements of the characters etc.

Even the mythical treatment in the play is musical. In the

theatrical presentation of the play, rhythm has become an

essential factor, says Kavalam (1982:27). The musical

instruments used are mainly 'Chenda' and 'Flute'. The scene in

which the guards are keeping the jewel on the hill, is

presented with a husicalbackgroundofthe flute. The enaction - - of myth of Prometheus the curse of Devi, the transformation of the

brothers into rocks, the torture of Unni etc. were presented in

the ritual tones of 'Chenda'. Thus in the use of music the

influence of ritual arts and folk elements are visible.

6.1.10 Costume

The costume given to the actors were like a folklore-

pattern. The whole upper part of the body of the actor was

laid bare. This could enable the actor to create new theatre

idioms using his body. Here a clear Grotowskian influence was

seen. Vayala says that he met Grotowski in 1981 and Agni was

..written and presented by him in 1982. There was clear

influence of Grotowski in him at that time. In spite of that

he was well aware of the culture of the body-dynamics used in

the traditional art forms. Both influenced him in designing

the costumes of the play.

6.1.11 Use of light

Vayala informs that mostly, the conventional use of light

was employed. The ritual application of light was employed in

the scene where Unni brings '~gni'. He had the idea of using

'Chuttu' (bundles of dried coconut palms) here. But it was

not possible, as it was presented on a proscenium stage.

Inspite of this, he used fire-wicks borne by the chorus who

dance in ritualistic rhythm around Unni. He felt that it was

very successful. Had it been done in an open air theatre, the

play would have been tremendously successful, he felt.

J 6.1.10 General assessment of Vayala'stheatre; ritual influence

The foundation of Vayala's theatre -concept is i n the

traditional theatre culture. His Thulasivanam, and one act

plays are illustrations to this. In the one act plays like

Yatra, Kireedom Biblical symbols as well as Christian mythical

influences can be seen. He was influenced by the sacrifices

made by great men like Christ, Gandhiji, Buddha, Jayaprakash,

etc. The 'Malamuthappan' in Thulasivanam is a Gandhian

archetype. Tllus the ritual architypes haunt'his imagination

throughout his dramatic character.

6.2.0 Sauparnika (R.N.P.): Introduction

Among the young generation of playwrights who rebelled

against the conventional forms of Malayalam Theatre during the

eighties, Narendraprasad carvedout a theatre channel of his own.

Like Vayala, he was also a product of the Kalaries held by G.S.

and S. Ramanujam during the seventies. He entered into the

modern Theatre arena in 1982 with his first play Munnu

Prabhukkanmar, which is considered on a par with G.S.'s Kiratham

and Kavalam's Karimkutty as a land-mark in modern Malayalam

Theatre. R.N.P.'s theatre- concept is also rooted in the

traditional theatre--culture as that of Vayala. Like Vayala, he

often shuns the peripheral application of ritual arts, but

holds to heart their essential spirit of theatre-in actor

preparation, audience -concept and other external theatre

elements. Along with Sauparnika plays like Padippura, /

Velliyazhacha,~umaranvarunnilla, Satheerthian and so many one

act plays like Marthandavarma Engane Rakshapettu etc. are

illustrious examples of his essential theatrical concepts.

Sauparnika wofi the Kerala Sangeetha Nataka Aludemy Award in

1985. The very essence of the play is ritualistic.

6.2.1 Traditional concept in R.N.P.

R.N.P. defines 'thanathu' theatre -concept, as the

presentation of a play which has got living connection with the

traditional culture of a place, before a unique and limited

audience (1992: 33- 36). The process of the search to discover

the indigenous root of the theatre-culture has been going on

all over the world. There had been kind of renovation during

the sixties in Kerala, and the awareness that representationalism

was not the essential element of theatre occurred. It helped

to present subtle experience beyond the real planes through

external actions evolved through psycho-physical relation. At

this stage in the effort for renovation of the theatre, there

began the search for a cultural identity. Consequently, the

idea that the indigenous concept should consist in the relation

between the emotion and external structure, the abstract and

the solid, object and space, evolved.

6.2.2 Actor-concept in R.N.P. and Sauparnika

R.N.P. has a definite idea of the actor in his theatre,

which he codifies (1991:13). Theatre is the art of the actor.

The theatre idiom should evolve through the actor. Action is

the theatre-language, and this action should emerge through the

actor. Therefore, he says that the actor-training is the most

important part of the theatre. The theatre-language is the

creation of the actor, the spirit of the actor, being dissolved

in it. Through actor-preparation, it is aimed to break up the

boundaries of the mind and body. continuity of action is what

actually constitutes a play. The mass.- space relationsip is

created by the actors by a living process of improvisations,

evolved through the imagination of the actor. There is no

absolute rule in theatre. Theatre language, like the

language in poetry is evolved through a process of free

imagination. It is born out of the action and reaction of the

actors. In that sense '. it is ritual action.

On the basis of this analysis,when the main actor in

Sauparnika, M.K. Gopala Krishnan (G.K.) (who was awarded the

second best actor prize by Sangeetha Nataka Aksdemy in 1985)

Was inverviewed. The interview exposed how the actor in

R.N.P.'s theatre was prepared. Intense physical training,

including breathing exercises as those in Grotowskian theatre

were received by the actors. It was with an aim of giving to

the actors a psycho-physical unity. Improvised training

methods of Kalari and Kathakali - were given. The essence

of training method was based on ritual arts.

6.2.3 Transformation and transportation

The actor G.K. narrates his exprience in the theatre of

R.N.P. fkcept Oy few occasions he could feel the duality of the

actor as well as the character while in performance.(N-38) The

identification with the character is not good for the actor.

The 'flow' of his action also depends on the acting of other

actors as well as the response of the aladience which scmetimes may not affect

him. The time taken for transportation usually depends on the

success of the performance. Even then the actor in him would

be evaluating the performance of the character in him. He

believes that taking intoxicating drugs or drinks would

prevent him from presenting the subtleties of emotion or

action. But this is not the case with Theyyam performer.

6.2.4 The concept of the director

There is always abifference between 'the director' or - teacher in ritual arts and the director in a theatre. The

teacher in ritual arts teaches his pupil a fixed score. The

pupil receives it with devotion and belief. For him to break

it, is blasphemous. But in the theatre there is no such fixed

score. The director can induct or deduct movements or postures

of the actors and fix them. The score is evolved during

rehearsals. The director would always be in a creative

qialogue with the actors, resulting in mutual teaching and

learning. "I consider the relation between the actor and the

director is the most meaningful model of human relationship."

(RNP, 1991:23).

This relationship is more meaningful than all others. As,

such a relationship exists during performance, the director

feels that he is establishing a relationship with the audience

through the actors. This concept of the actor - director relationship is seen in all the ritual arts.

6.2.5 Treatment of myth in Sauparnika

The myth in the play is a well-known one. It is the

story of a strange love-affair between a high-born Brahmin and

an 'Yakshi'. The myth can be interpreted differently. It may be

the lust of man leading him to ultimate tragedy or 'Yakshi' may

be the power leading Venmani from ignorance to wisdom.

'Sauparnika' may be the dream of 'Venmani' by which he can rise

to such a glory. She may be the embodiment of a woman yearning

for motherhood. She wants to humanise herself out of her

ardent desire for it. She may be the perfect model of

womanhood in the concept of the dramatist himself and 'Thatri'

may be a woman of mudane existence lagging far behind his

concept. Thus a very popular myth is re-interpreted as a

commentary of human life. It is a perfect example of how a

myth can be treated in theatre with modern relevance.

6.2.6 Ritual sequence in action

R.N.P. tells that chorus is introduced to express the

inner meaning of the play (1991:79). The very opening scene of

the play is set in a temple atmosphere. The concept of

'Sutradhara' is taken from Sanskrit theatre-traditions. The

chorus as well as the 'Sutradhara' often communicate with the

audience during the performance. There are ritual actions

which the audience can share and become participants. In the

action sequence, some models from ritual arts are accepted.

The entrance of 'Sauparnika' was ingeniously used with a

'Yavanika' . The 'yavanika' with the picture of an 'Yakshi' was

already spread out on the stage (p.24). After creating a

'tantric' atmosphere it was slowly raised as if 'Sauparnika'

were emerging from it. Thus 'yavanika' becomes a character.

At the same time Sauparnika appears just behind the 'yavanika',

and then enters

dancing. The mythical atmosphere and poetic context were created

there. The movements gave an unearthly'nature to the character.

As Sauparnika receaes intcrealistic plane of action, her

dancing movements also change into realistic plane.

The movements of chorus and Sutradhara are created through

improvisations keeping the culture of tht- traditional arts. The

sexual relationship of Sauparnika and Venmani was presented

through some physical postures which have got some distant

relationship with postures in ritual arts of Kerala. The

!mantravada'-scene (P-26) was improvised by the actors. At that >

time the chorus sings 'tantric mantras in the background to

create a ritual atmosphere. The death-scene of Venmani (P-32)

and the 'sloka' (P-39) created a ritual atmosphere. The

'upanayana' of Unni (P-591, the scene of 'Othu' (P-38) etc. are

created through a ritual sequence. The curses of '~au~arnika'

(P-62) were put into theatrical idiom, as the curse of the

mythical character '~annaki'. The most beautiful ritual sequence

is presented in the trilogy of deaths of grandfather, father and

Venmani. A ritualistic tribal death-dance is presented around

the characters, to exhibit the force of the ritual of death.

6.2.7 Ritual stage-props

Ritual stage Props like 'Yavanika', 'Peedom' , 'Nilavilakku', Olakkuda' (Umbrella of coconut palm-leaves) etc.

are used. Their uses were functional as well as symbolic on the

stage. Yavanika was used for the emergence and entrance of

Sauparnika. It was already spread outonthe stage before

Sauparnika's entrance and was slowly raised as a living object

as if '~au~arnika' emerging from it. The function of stage-props

used here was to create the atmosphere, to give hints to time

and space, to symbolise the contexts etc. R.N.P. says that the

first use of 'Nilavilakku' was to symbolise Unninampoori, then

it was used to create the atmosphere of death when the chorus

extinguishes it (1991:82). In the second scene 'Olakkuda' is

brought by 'Thatri' as a real object. In the third scene when 3

Sutradhara enters with it, it represents the family pride. In

the next moment these umbrellas are used to represent a crowd

feeling. Similarly, to represent the mansion, a piece of black

cloth is used, and to represent the infant,a piece of red cloth.

Four small masks were used. The 'homa'scene of '~ur~akaladi' was

presented using two masks. The culture of using all these stage-

props was drawn from ritual arts. Their uses were evolved

during rehearsals.

6.2.8 Properties and space: their proportion

R.N.P. tells that the influence of ritual arts was applied

in the arrangement of the properties used and their proportion

(1991:83). For example, the creation of mansion was with a

piece of cloth and four small sticks. The illusion was created

that the. actor who was sitting on the 'peedom' was in the

mansion. The idea behind this was drawn from ~athakali and

Koodiyattom. Even'the mudras' with theatrical improvisation are

used in the presentation of Sauparnika.

6.2.9 Use of music - ritual influence

The musical instruments used in Sauparnika were

'Mruthangam' , 'Elathalam' and 'Thampuru' . '~agas' Used were

traditional. The recitation was in the tune of 'Sopana'. The '

songs were sung in the tune of folk-lore. The folk- music of

Padayani and 'Tharattu' (lullaby) was. used. The music in the

traditional art-forms were converted into the motifs of the

. play.

The concept of the audience in R.N.P. is entirely

traditional. He points out how the ritual arts are trying to

establish a relation between the audience and the actor. From

Theyyam, Padayani and Mudiyettu, one can draw the culture by

which the relation between the actor and the audience is

established and retained. He is of the opinion that we have to

get back the lost rapport between the audience and the actor in

the Malayalam Theatre. The actor establishes an emotional

rapport with the audience through his acting. The whole history

of the traditional theatre of the world shows this. Even the

assessment of the different theatres of the world is made on

this. Artaud, through his theatre of cruelty gives the magic

message of liberating the primitive emotions of man. In the

poor theatre of Grotowski the audience receive the message of

the complete action of the complete man. This establishes a

holy relationship between the actor and the audience.

6.2.11 Audience in Sauparnika

The actor ( G . K . ) informs that when Sauparnika was

presented in more than fifty stages, the audience appeared to

share more in the emotional plane. It is written for the

proscenium stage. Therefore, there had not been so much rapport

with the audience for the actors as in that of the ritual arts,

0.r plays with ritual influence presented in open air theatre.

He felt that the play was received and enjoyed in the aesthetic

level, more than in emotional plane. The ritual spectacles of

costumes and stage-props, the movement and postures of the play

gave it an unprecedented aesthetic beauty. So it had been a

successful theatre event more than a successful ritual event.

It was like that and it ought to be like that.

6.2.12 Analysis

Thus in all respect, the culture on which the theatre of

R.N.P. is rooted is traditional in essence. But his theatre

does not exhibit the peripheral influence of the ritual arts.

He had definite idea how the traditional arts should influence

the modern dramatists and all his important plays Sauparnika,

Padippura, Velliyazcha, Kumaranvarunnillaand so many other one

act plays (See, Chart A-11) are exemplifications of this. In the

compositions and presentation of these plays there is the

influence of the great masters of the East and West, with the

vision of the actor as well as the audience-concept.

6.3.0 Naduqaddhika : Introduction

As a part of the revivalist tendencies in the modern

Malayalam Theatre during 1980s young playwrights were genuinely

inspired by the culture of the performing arts of Kerala. K.J.

Baby is one of them- He was inspired by the Adivasi-culture of

Vayanad. His play Nadugaddhika is significant not only for the

inspiration it derives from 'the Gaddhika' ritual of the Adivasis

of Vayanad, but for the strong relevance it acquires in the

modern context. The play depicts the slavish life of the

Advasis in Vayanad with a historic and aesthetic perspective.

The new theatre-culture of Baby was a spontaneous sprouting from

the tribal culture of the Adivasis, as he lived with them to

feel their very pulses. The spontaneity by which the ritual

play Nadugaddhika evolved is given by Baby in his interview. - "Before staging or writing ~adugaddhiKa ~- . . I had no prior

knowledge about theatre. I had no a c q u a i n t a n c e , w h a t s o e v e r , w i t h

a formal theatre or play. My acquaintance with theatre began

when I created an art-form '~~oorna'." (AI.9-3). Even though-

'Apoorna' was not a well accomplished play he became aware of

the strength of theatre as a medium for communication, through

its presentation. It was almost a documentary play which dealt

with the problems of the Adivasis, who received itwiththeir

heart and soul. This inspired him to studytheirsongs, dance, c 1 Thudi etc. It was then he chanced upon to see the ritual of

Gaddhika: (1983: 54- 5 5 ) .

6.3.1 Gaddhika-Ritual : Gaddhika, Nadugaddhika and the play

Nadugaddhika

Gaddhika is a ritual prevalent in the aborigines of

'Adiyars', a section of the Adivasis of Vayanadu. It is

performed as an exorcist ritual to ward off illness or epidemic

or to cure a haunted person. When affected by these, a family

may ask the '~addhika'-group to perform the ritual in their

residence. The group, with the leadership of a '~ooppan' may go

there singing songs in praise of 'Siva' or '~aliamma 'and would

perform the ritual. Nadugaddhika is performed only once in a

year. This is to exorcise the illness of the whole village by

the Gaddhika-group. This ritual is usually seen in Thirunelli.

Wearing a peculiar costume of dark colour, making 'Guda' (small

temple like structures) with fire-wicks fixed on them, the

group would go to every hut of the village with 'Thudi' and

'Cheeni'. Singing and moving in a certain dancing pattern they

would approach, the door-step of the patient. When the

patient comes out, the group through a trance-dance would

exorcise the illness. The leader of the 'Gaddhika - 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 the day time.

Receiving rice, bread, cocks, tender coconuts and other eatables

from the residences, they would retreat with all the male members

of the village accompanying them, to a part of the forest where

they would eat out all the things got as offerings. The origin

of this ritual may be, the fear of some epidemics by these

aborigines. As in some other ritual arts, the performer has no

heriditary claim for performance. The performer who acts well

and sings well would be given prominent positions in the

'Gaddhika ritual. As in other rituals, there are no

spectators here, only participants. All people who come to

witness the ritual become the participants automatically.

Sometimes people who come from outside may remain as spectators

in the strict sense.

. Baby informed the investigator that one day it .hit- all

of a sudden on him that he could write a play using Gaddhika.

Thus the origin of the play was spontaneous, hence the power of

the purity of a ritual. He tells that when he took ritual into

theatre he had not taken it as Such. He has taken the basic

movements and steps from the Gaddhika ritual. 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

.. : house to house along with its participants, the drama

troupe, after presenting the play at one place goes to another,

with almost all the participants. Gaddhika is performed like

this.

6.3.2 Treatment of myth in the play

"While I was wandering and sometimes living with these

tribes collecting some tribal songs, a wonderful myth of their

Goddess 'Mali' was sung to me by a tribal girl. In these lines

I saw a myth, which intellectually enslaved these Adivasis from

the very ancient days. From it, it was very clear that more

than the physical enslavement, it was the mental and

spiritual." (AI. 9 - 10) The myth is referred to in the play

(p.20) (N-39). 'Mali' is the Goddess of the upper class

land-owners. Once two Adiyar slaves 'Melorachan' and

'Keeyorathi' escaped from the slave-camp of a Melalar,

'Pakkathappan'. But they were hunted down by the Goddess

'Mali'. (Baby, 199:26-40). The song is still sung by 'Adiyars'

as an intellectual enslavement. It is referred to in the play

(Scene 2 - p - 20). The underlying tone of the myth is

personified in the last scene of the play (p.49). The

'Theyyakolams' of 'Melorachan' and 'Keeyorathi' emerge from the

crowd, (as .the awakening of their suppressed spirits) to

encircle Thampuran, symbolising the evils of the establishment.

In the play, they dance in between Thampuram and the girl. The

dancing - pattern is borrowed from Adiyar's Thira. His aim was

to use the spirit of the myth to interpret the history of

Kerala right from the last two centuries connecting the rituals

of '~di~ars: Despite the transitions from Kingship, British,

Congress as well as the Communist regimes, the Adivasis,

remained still in their primitive intellectual enslavement.

'Pakkathappan' is actually the symbol of the ruling class and ,

'Mali' is the instrument by which they keep the Adiyars in

eternal salvery. This myth acquires a new dimension in the

modern theatrical context. It is the mythical atmosphere that

differentiates Nadugaddhika from other popular Theatres. The

soil of Vayanadu is so fertile in myths.

6.3.3 --concept in Nadu Gaddhika - ritual influence

The actors in Nadugaddhika were prepared through a

continuous and strenuous process of training. They were

Adivasis with no knowledge of the formal theatre activities.

But as their ethnic culture was there in the play, they reacted

spontaneously to the demands of the theatre. About this

experiment Vayala says, "It can be related, at least in a very

remote way to the serious theatre experiments the World over.

The experiment is in relation to the anthrapological background

of a people, their cultural and religious practices and all the

other manifestations of their social existence . Nadugaddhika can be, though quite feeble one of the sincere

1 )

attempts of the kind- (1984 July - Dec:45). Even though formal

theatrical exercises were not familiar to Baby he gave some

exercises to them to give shape to what was really in his mind.

After a few weeks of rigorous training physically and

mentally, they were transformed and made ready for performance.

As the actors were mostly Adivasis and some of them were

directly connected with Gaddhika ritual, in the improvisation

sequences they could contribute immensely to the rhythm and -

movements. When asked about the status of the actors in the

society, he replied that the actual performers! of the Gaddhika

ritual get a social status among the tribe. But the actor in

Nadu~addhika gets it only so much as an artist.

6.3.4 The Transformation and Transportation in the actors in

Nadugaddhika.

The evaluation of the transformation and transportation

of the actors in ,Naduqaddhika is an important point. This

would help to connect these experiences in the ritual

performers as well as the actors in the ritual Gaddhika, as

some of the actors were real performers of the ritual. In the

actors who were Adivasis the transformation was more intense.

The play ends in a violent ritual movement similar to that of

Gaddhika (AI. 9 - 8). The dance would be in tune with rhythm of

their musical instrument 'Thudi'. The whole body-movement is

utilized for the dance. As the rythm in 'Thudi' quickens they

would get into a trance. When asked about their

transportation he replied that, in the actual ritual of

Gaddhika the main performer goes into a trance. He returns to

his self by drinking water mixed with charcoal and turmeric.

It is a part of the ritual. (Baby, 1991:170). But in theatre

when they would be completely exhausted after performance, it

would take some time for returning to their self. There occurs

a natural cooling process. After removing their costume, they

drink, smoke and chat and comment upon the performance.

6.3.5 Audience in Nadugaddhika

The play is one of the best examples of how a ritual

can be made use of in the theatre to invite the maximum sharing of

the audience. Baby tells that at first, the audience was only

the Adivasis. How the Adivasis shared the spirit of the play

is witnessed by Civic chadran (1983:8). The presentation of

the play was with full participation of the audience throughout

the 'Churams' of Vayanadu with a historic and ethnic

background. The ~divasi-audience discovered their own fate in the

characters who cry, weep and get angry. It is the tryst with

their own destiny. The audience throughout Kerala, irrespecive

of caste, class and creed shared it. Udaya Kumar writes "The

energy of the anger and revenge conveyed by Naduqaddhika has

been fully contained by the audience, when they depart.

At least a seed of restlessness and dissatisfaction is sown in

the mind of the spectator." (1983:ll). He still extends the

effect of the play on the audience. In them, there surged up

the emotion to get out of slavery which dehumanised them.

Before them, even the last mask of the exploiter drops down.

The force of the ritual 'Gaddhika' in this function is very

powerful. The function of the rituals is fulfilled here..

Through a ritualistic exorcism it gets rid of the illusion in

the audience aesthetically. It is the primary function of art

with new awareness. The current relevance of the play was felt

recently thraugh the audience' reaction when it was performed

throughout the valleys of Narmada.

It is informed by the author that it was the unprecedented

audience-participation that made the artistic venture of

Nadugaddhika, a play (AI-9 - 11). "Wherever we went, the

response of the audience was nearly total. When the audience

were the Adivasis, they appeared participating in their own

ritual 'Nadu Gaddhika'. There was an emotional sharing. When

the phrase 'Paikinto,Paikintol was uttered, at first the Adivasi-

audience used to laugh but when it was repeated they began to 2)

cry. They saw in the play their own life. (A1 - 9 - 11) He

further witnesses that in some places, the staging of the play,

created a festival-atmosphere, as the performance of a ritual

art. The sharing was so intense that,as in some ritual arts

the audience would rush forward, and there would be a group-

dance of the actors and audience. The success of the play lay

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.

Even though the concept of space of presentation is open air,

in some places it was presented in the proscenium. It not only

limited the power of the play, but curtailed the immense

freedom of it, in its varied dimensions. It shows, above all,

the ritual quality of the play.

6.3.6 Music and lighting, ritual. influence

The playwright informs the investigator that he has not

taken original Gaddhika-songs (A1 - 9 - 6). But he composed songs

of the same rhythm. The underlying rhythm of the play is the

basic rhythm of Gaddhika ritual. (All through the play the

references are thereJ- When the actors sing this rhythm, the

Adivasi-audience suddenly recognize it and involve' themselves

into it emotionally. The Adivasi musical instrument like

'Kuzhali', 'Choola' are used. At the entrances and exits of

Thampuran 'Chenda' is used. The application of music thus gave a

ritual atmosphere to the whole presentation. "It is the

aesthetic rhythm of hardwork, and not the solid acting through

training, which forms the wealth of Naduqaddha." (Udayakumar,

1983:13). The lighting effect was given by torches

('Pandhams') as in ritual arts.

The play is the best example of how the soul of ritual

can be recreated in the Modern Theatre to interpret,to produce

a new awareness. According to Civic chandran, Nadugaddhika

is not a play which can be re ferredtoonly passively in the

history of Malayalam Theatre (1983:8). It is the most powerful

phase of the committed theatre of Malayalam. First of all it - concentrates on the problems of the down-trodden. The message

it wants to convey, reaches the real target, the downtrodden,

fulfilling one of the primary functions in theatre. In that

sense,it opens up a new avenues of the popular art form of the

theatre, giving a blow to the middle class popular theatres of

Kerala. ( N - 4 0 ) It is really the force of the ritual Gaddhika.

6.4.0 Pulijanmam : Introduction

Pulijanmam by N. Prabhakaran is an example of how ritual-

influence still persists in the modern Malayalam Theatre. The

play won the Sangeeth Natak Akademy Award in 1988. It is

particularly taken for evaluation to trace its ritual influence

as one of the strongest phases of modern Malayalam Theatre.

The playwright had imbibed the spirit of Theyyam performance

around him and he had been profoundly influence'd by it. He

himself confides that a dramatic moment in - Theyyam performance inspired him to bring it into theatre frame work (1989:37).

The play is the product of the direct influence of it and the

theme is drawn from a famous myth. The playwright says that

his intention was not to create a play with ritual influence.

When he thought of modern man's self-conflict, despite the

external comforts and luxuries of life, he was inspired to

mould it into theatre. Thus the play becomes another example

of how the concepts of ritual art can be made into theatrical

rendering to interpret the problems of modern man. The

playwright confides how the ritual art of Theyyam can be made

use of in the theatre (AI.lO-1). It came spontaneously to him.

The dramatic as well as the tragic end of '~ari~urukkal' haunted

his imagination which finally gave shape to the play Pulijanmam.

6.4.1 Myth in Pulijanmam and its treatment in the play.

'Pulimaranja thondachan' is a legendary figure of the

'~ulayas: He was born as the son of 'Karumpan' and 'Kurunji' ,

two 'pulaya' slaves of a famous ' ~haravadu' at Kun jimangalom.

Named as '~ari: he showed a dislike for manual work from his

early childhood. Everybody felt that the boy was meant for

higher things. So he was sent to different 'Gurukkals' to

complete his training in 'Kalari' and other martial arts, and

became a '~uru' himself.

It is at this time, the king of Allam Nadu was possessed

of by an evil spirit and became insane. Men of the royal

court tried several exorcists to get the spirit out. Finally

the court sent for 'the Gurukkal' to drive away the evil

spirit. Though at first he refused, on persuading he relented.

The 'Gurukkal' was promised the reward of half the Kingdom. On

his way to the king 'the Gurukkal' had several trials to face

from the other 'Gurukkals' of Allam Nadu, but he won them all

over by his supreme magic power. God and Goddesses like

'Pottan', 'Gulikan' and 'Kurathi' tried their tricks to deter

him but he silenced them too.

In the~process of driving away the spirits from the king,

he in a dazed mood drank toddy ('Kalasam') from the hands of

'the Gurukkals' of the court which was resented by the people

of the court and they decided to teach 'Karigurukkal' ' a

lesson. So they refused to comply with the agreement, instead

they put additional demands on him that he should get the milk

from the tiger. '~urukkal'who knew the technique of assuming the

forms of animals ( 'Odimarayal' ) , readily agreed to it. Before

he went into the form of a tiger, he instructed his wife to

sprinkle 'Kadi' (rice-water) on him with a broom, for that' was

the technique to regain his human form. When he returned

after fulfilling the promise, his wife did not do as she had

been instructed, instead, she got into the hut and hid herself,

as she was utterly frightened at the sight of the

terror-striking tiger. The 'Gurukkal' in the tiger-form tried

all tricks to get his wife to do what was required. At the end

in sheer despair, the tiger got into the hut, attacked and

killed her in a fit of terrible wrath and disappeared into the

forest. After sometime, the king of Allam Nadu became

possessed of the spirit again. According to 'the rasi' it was

found out that the spirit of 'the Gurukkal' possessed him. The

king decided to worship 'the Gurukkal' by performing his

Theyyam every year. This is the myth.

All these incidents are described in detail in the

'Thottams' of Theyyam. But there is only a slight reference of

the context about Gurukkal's encounter with God and Goddesses

of 'Pottan', 'Gulikan' and 'Kurathi'. But Pulijanmam starts

with this dramatic situation, and all other incidents are left

out. The myth is re-interpreted here as the conflict in the

modern man. It has got powerful politicial under tones.

Karigurukkal' becomes the symbol of a political philosophy

discarded, relegating it to the realm of oblivion. But the

myth acquires new and current political dimensions. The play

becomes a perfect example of how myth can be re-interpreted to

explain the modern man's precarious plight.

6.4.2 Actor in Pulijanmam - a ritual concept

The roots of Pulijanmam is in the ritual art of Theyyam.

But it hasnot become the decoration or part of the play. N.P.

informs (AI. 10 - 2) that training to the actors was not

necessary as most of them were related to the ritual art. They

could contribute to the action sequence of the play. In spite

of that, a continuous three-months' intensive rehearsal was

needed before the first presentation. When asked about the

extent to which the actors had gone to trance N.P. replies that

inspite of the fact that some of them were original Theyyam-

performers, they kept their transformation under their control

(AI. 10-4). ' But compared to the actors in an ordinary stage,

it took more time for their transportation. This meant that

the influence of the ritual Theyyam, was more on them. This

also implies that the direct application of a ritual on the

stage would affect the transormation of the actors more.

6.4.3 Ritual influence in the actions sequence of the play - connection with Artaud.

The encounter offKarigurukkal' withlPottan', 'Kurathi' and

'Gulikan' has been given a ritual sequence. It is presented as

an encounter between man and gods. They are actually the

symbols of Karigurukkal's mind. These ritual characters have

theatrical functions with modern relevance. 'Pottan' puts the

social and the contemporary conscience of justice under trial.

The introduction as well as the action-pattern given to the

characters, 'Kunjaman' and 'Kunjanan' are in tone with the

rhythmic pattern of the ritual characters 'Pottan', 'Kurathi'

and 'Gulikan'. The last scene of the disastrous disappearance

of 'Puli' powerfully recalls the spirit of Artaud's theatre of

cruelty. It is presented with violent music and in red colour

to reveal the ferocity of the action. For depicting some of

the decisive moments of action, the movements of Theyyam were

IT I '

rsorted to. For example, the entrance of Karigurukkal was

improvised with different movement-patterns (~alasams') in

different contexts of various Theyyams. The concept about some

of the action sequences of the play comes very close to

Artaudian ideas about the theatre of cruelty:

"Through a cruel and sacrificial act, theatre can be

converted into a rare field of experience with the help

of some decisive movements in ritual arts. The

audience who witnesses the last scene of the play would

be convinced about this." [N.P., 1989 (87) : 391.

The dialogue-pattern given to the characters are also

with a tone almost close to Theyyam-performers. The Theyyam-

tone was changed to suit the theatre function. Laughter to

'Pottan', 'chats' to Kurathi (like 'Koolies' ) , fierce- roar to

'Gulikan' were given. This was akin to the original ritual

characters. Thus in the action sequences, the influence of

Theyyam was remarkable with theatrical functions. This was in

line with the structure of the play. When 'Gurukkal' is

transformed into 'Puli', the ritual '~hiriuzhichil' is made use

of. The dream of 'Vellachi' is presented through the folk art

'chimmanakali'.

6.4.4 Audience in Pulijanrnam.

The director K.P. Gopalan witnesses that the full

enjoyment of the play was possible only by an audience endowed

with high standard of aesthetic appreciation. N.P. mentions

that there were different responses from a rural and urban

audience (AI-10-5). There was greater emotional involvement

among the rural audience. A rural spectator responded to the

performance of the same play as if he were witnessing a true

ritual performance. He treated the director as a 'Parikarmi'

and offered him money ('Polikkal') just before the beginning of

the play. This shows that the influence of Theyyam was

predominent in the play. But the urban audience did not show

so much involvement. N.P. says "I had been with the audience

on three occasions of the presentation of the play. I

witnessed the feelings manifested in their behaviour, through

this 'old story', something not alien to them." (A1 - 10 - 5). He adds that there was good response from the audience when the

play was presented in the open air.

When the play was presented in proscenium, a section of the

audience remained only as spectators. They even criticised tho

drawbacks of the play. In the open air presentations such a

thing never happened. This means that when the ritual quality

of presentation was lost, the involvement of the audience

became less.

6.4.5 Ritual stage props

A ritual atmosphere was given to the presentation by

providing some ritual stage-props. When it was presented

before a rural audience, in the place of cyclorama coconut

palms. with a particular design was tied. At the sides,

decorations of tender coconut leaves were given. In the last

scene where '~urukkal' dissolves into 'Puli' 'Kothirithattu' made

of plantain stems were used. Thus the stage was prepared like

the place of an exorcist ritual. ' . In selecting the stage-

props, as in Theyyam performance materials directly available

from nature were used. This enabled to convey the subtext of

the play to the audience. (AI-10-6).

6.4.6 Application of music

For music, the rhythm of Thevyam was given throughout.

The main musical instruments were 'Chenda', 'Ilathalam',

'Edamthala Chenda' , etc. The 'ragas' sung were those at the time

of 'Purappadu' in Theyyams of 'Muchilott Bhaghavati', 'Madayil

Chamundi' etc. During the moments of reflections,. dream,

sorrow, agony, the instruments 'Cheenikuzhal' and flute were

used. Different 'chats', lines from 'Thottam pattu', folk-lore

hummings were used for theatrical effects. Thus application of

music was entirely traditional and ritualisic in character.

6.4.7 Lighting ritual influence

The application of light was completely ritualistic. The

stage was illuminated by 'Naithiries' (ghee-lamps) in coconut

shell-halves. The use of electric light was minimised as it

would spoil the ritualistic atmosphere of the play. In the

scene of Vellachi's dream blue light is used. The change of

'Gurukkal' into 'Puli' is presented completely in red light to

give it a fierce ritual effect. Similarly, the end of the play

was with a meaningful application of light. When the '~urukkal'

falls down, the '~omalies ' (ancient forms) come and place each

'Naithiri' at the head and feet, thus providing a ritual

character to the dramatic climax. Thus the entire design was

to provide a ritualistic atmosphere to the whole performance.