Return
to Story Page
To print: Select File and then Print from your
browser's menu
Brhannala is a refreshingly original and unusual play -- written, choreographed, directed and produced by Veenapani Chawla, the founder, Managing Trustee and Artistic Director of Pondicherry's Adishakti Theatre Company. Enacted by Vinay Kumar, Chawla's remarkable production encompasses everything from dance and mime to music and philosophy -- and draws from the traditional principles of Kalaripayattu, Koodiyattam. Chawla speaks to Deepa Deosthalee about the purpose behind Brhannala and the various themes -- mythological, traditional and at the same time, contemporary -- it explores:
How did the idea of making an unusual production like Brhannala come about?
In recent years, I have been trying to incorporate principles which inform cinema -- making the work visually rich; conveying significance through images and sound rather than just verbal text; rapidly changing visuals etc. Which is why I have explored very physical but neutral arts like Kalaripayattu tocreate my own language for physical expression.
Why did you choose Brhannala?
My previous production Impressions of Bhima had the actor briefly perform as Brhannala -- it was an enchanting moment. Then I attended a seminar on the male dancer at Chennai in 1996. I was compelled to think deeply around this subject. And Brhannala resurfaced. I researched and read around Arjuna, it took me from Arjuna to Siva as Ardhnaishwar, to brain lateralisation, to neo physics, to Greek mythology and back again to Arjuna as Brhannala!
What are the various theatrical devices you've brought to the play?
I have tried to create a metaphor about polarities and their essential union. Bohr's theory of complementarity -- where the two extremes are part of one seamless loop -- is behind the choreography in the structurally pivotal scene -- Siva and Arjuna.
What is the significance of the `dog-tiger' metaphor you have used in the play?
Brhannala is about polarities and their union. Thedog and tiger are the feline and canine polarity, the wild and the domesticated/corrupted. Paradoxically time and its movement is expressed through them. Both are `discontented', and discontent, anxiety and grief are experiences of time. The death of the tiger is followed by Abhimanyu's death, which in turn is followed by the story of the birds. All three experiences of pain in time are then resolved in a state of being in which time/space is unified.
There is a brilliant play of light and shadows throughout the production. As also the music, which sounds as unusual as it is pleasing on the ears. How did you work on that?
I have a brilliant light designer called Jean Legrand. Once I had explained the concept to him he was able to create really magnificent lighting. I have also tried to explore music as a text in this play. Apart from the verbal text and the signification added to it through the images created by the body of the actor, the music and sound try to expand and layer thissignification.
How did the Adishakti Theatre Company come about?
I established Adishakti in 1983 in Mumbai. In 1993 when I shifted to Pondicherry I thought theatre was behind me. But it came along with me, and so did actor Vinay Kumar and others. In fact, the work has matured and it has reached out to many more audiences since my shift.
The work we do involves creating a richer contemporary language for theatre. This frequently means that we learn and research into traditional or folk forms and lore. And we also try to create an environment for traditional artists within which they can rediscover their art and make their work more accessible to contemporary audiences.
We have people coming to visit and interact with us from all over the world. For, apart from the traditional and folk performer we draw inspiration from other disciplines and arts as well.
What was Vinay Kumar's contribution to the entire production? He seems to work wonders with his eyes, voice, body movements and hishands.
Vinay Kumar trained at the Trichur School of Drama as a contemporary actor, but he has since learnt a number of traditional forms. Since 1992, when I met him in the Kalari where I was learning Kalaripayattu, we have explored these forms together to see how their invisible principles could be employed by an actor to expand the scope of his language. It is also this work: on voice, body and psychological expression which make him remarkable.
In this play I cannot think of another actor who could have done what he does. The concept may have been mine but he has a hypnotic use of the body and a great sense of timing for comedy. Apart from that, even my choreography comes out of my observation of his movements.
Finally, what does theatre, as an art form and medium of expression mean to you?
Theatre gives me a lot of discomfort and pain and yet I go on with it. I believe that it is not respected as much as other arts in this country. But if one can work with the rigour that isdemanded by it, one can reinvest it with the power and magic that it traditionally had.
At The Experimental Theatre, NCPA, on March 15. Time: 6.30pm.
Copyright © 1999 Indian Express Newspapers (Bombay) Ltd.
------------------------------------------------------------
This story was printed from Net Express located at http://www.expressindia.com. Net Express provides a portal to India, with news from The Indian Express and The Financial Express along with sites on travel and tourism, the entertainment industry, the power sector, the environment and much more.
------------------------------------------------------------