Memories of Yakshagana: Part 2

The 1980's also saw the Tulu prasangas in the peak of their popularity. In Tenkutittu, except Dharmasthala mela and Kateelu mela, no other troupe played Kannada prasangas. Though, they all came out with one new Kannada prasanga every year, mostly some imaginary fictional stories, there was no demand for them.
Tulu prasangas initially (mid seventies to early eighties) offered some good stuff as long as they were based on either historical, legend-based or padthana-based themes. So, Koti Chennayya, Tulunada Siri, Bappa Nadu Kshetra Mahatme, Amarashilpi Shambhu Kalkuda (both are half Kannada-half tulu), Devu Poonja Pratapa, Kanthabaare Boodabaare etc were a pleasure to watch. They seemed still acceptable within the overall framework of Tenkutittu yakshagana, of course with some questionable compromises.

Then came another round of Tulu prasangas which were more dramatic and stories were purely fictional. Among them were Sorkuda Siriginde, Pattada Padmale, Kadamallige, Sathyadappe Chennamma, Putturda Muttu and so on (early eighties to mid-eighties). Even these ones seemed acceptable at one level since the stories, though fictional, still remained in the world of kings and gods which suited the make-belief world that yakshagana theatre sought to create. For example, Pattada Padmale appeared innovative with its opening sequence of a folk-dance performed in front of a king to the folk- tune (Kangulo baarelo maayidaa punname) and also for a scholarly debate on the pancha pativratas of the Indian mythology between the king and a prostitute (the king played by Samaga and the prostitute, Kolyur Ramachandra Rao) While the first group of prasangas had their songs in Kannada, the latter switched to Tulu songs. (To be continued...)