I have always been curious to know how those who are new to Yakshagana perceive it and write about it. Those of us who have been brought up seeing it in its various forms and styles tend overlook things which others find distinct. Things which we find ordinary attract others as something unusually interesting. Recently, I came across an article posted on ghumakkar.com. It is one of the very well written pieces on Yakshagana that i have ever come across on the net and it was by someone who watched it at Kateel temple for the first time out of sheer curiosity and interest.
The author, Arvind Padmanabhan says:
The author, Arvind Padmanabhan says:
The main purpose of my visit was to sample a traditional folk art form of song, dance and drama in these parts of Karnataka, known as yakshagana. At Moodbidri yesterday, I made enquiries about yakshagana performances in the region. I was told to check out the listings in a local newspaper. So I got the hotel receptionist to check these out in Udayavani....I was surprised to find more than 20 performances for last night alone....
What I found extremely interesting in the article is the way he describes the scene in chowki. He observes the process of make-up in all its details:
Facial makeup is usually done first before the costume is worn. Dhotis are divested for pyjamas. A tight undershirt is worn next. This is tightened and knotted with strings. Next, form is given at waist level by tying empty folded sacks or layers of cloth. This gives the fullness needed when the main costume is worn over another inner vest. The main costume is tucked in. Below the waist is a skirt that hangs to knee level and frills out when the waist belt is tightened. Costume is never complete without arm bands, head bands, a crown, a belt and anklets with bells (gunghroo). Two important decorations are the crown and the hanging chest ornament - these are elaborate for the main characters, be it the good guys or the bad. Every piece of ornament is only imitation jewellery but they all look resplendent as befits the characters of gods, warriors or kings that they portray. When all these are accomplished, the common actor has lost his real self and has become the character...
For a first timer, the author has really been able to appreciate Yakshagana too well (of course, he knew Kannada)...Read this:
So when Indra in the form of a brahmin comes to Karna to ask his protective shield, we all know how it ends; yet we are full of interest in the dialogue and how one argument leads to another.
And finally, does not the following description leave those of us who have watched hundreds of such shows with a sense of deja vu?
When the first light of dawn breaks out, shops start to open. Newpapers and milk arrive. Early birds leave home for work. The first buses pass by. The performance draws to its climax and comes to an energetic end. There is no applause, no single acknowledgement of the efforts of cast or crew. The whole performance is like a prayer or a dedication to the gods.....I was among the last to leave, having survived a wonderful night of non-stop entertainment, village style
What I found extremely interesting in the article is the way he describes the scene in chowki. He observes the process of make-up in all its details:
Facial makeup is usually done first before the costume is worn. Dhotis are divested for pyjamas. A tight undershirt is worn next. This is tightened and knotted with strings. Next, form is given at waist level by tying empty folded sacks or layers of cloth. This gives the fullness needed when the main costume is worn over another inner vest. The main costume is tucked in. Below the waist is a skirt that hangs to knee level and frills out when the waist belt is tightened. Costume is never complete without arm bands, head bands, a crown, a belt and anklets with bells (gunghroo). Two important decorations are the crown and the hanging chest ornament - these are elaborate for the main characters, be it the good guys or the bad. Every piece of ornament is only imitation jewellery but they all look resplendent as befits the characters of gods, warriors or kings that they portray. When all these are accomplished, the common actor has lost his real self and has become the character...
For a first timer, the author has really been able to appreciate Yakshagana too well (of course, he knew Kannada)...Read this:
So when Indra in the form of a brahmin comes to Karna to ask his protective shield, we all know how it ends; yet we are full of interest in the dialogue and how one argument leads to another.
And finally, does not the following description leave those of us who have watched hundreds of such shows with a sense of deja vu?
When the first light of dawn breaks out, shops start to open. Newpapers and milk arrive. Early birds leave home for work. The first buses pass by. The performance draws to its climax and comes to an energetic end. There is no applause, no single acknowledgement of the efforts of cast or crew. The whole performance is like a prayer or a dedication to the gods.....I was among the last to leave, having survived a wonderful night of non-stop entertainment, village style
1 comments:
ಓದಿ ಖುಶಿಯಾಯ್ತು. ಥ್ಯಾಂಕ್ಸ್.
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