Sangeet Natak Akademi, New Delhi
in association with

Kerala Fine Arts Society, Kochi

FESTIVAL OF YOUNG THEATRE DIRECTORS OF KERALA

14 - 23 October 2005,6.30 p.m. daily

The Kerala Fine Arts Society Auditorium
Fine Arts Avenue, Kochi

Inauguration
14 October 2005, 6.30 pm

Shri Bharat Gopy
Guest of Honour

Shri K.N. Panikkar
Vice-Chairman, Sangeet Natak Akademi presides.

Programme

Friday 14 October
Porulmozhi
PRAMOD PAYYANUR, Neruvambran Nataka Vedi, Kannur

Saturday 15 October
Pavangal
GOPI KUTTIKOL, Sunday Theatre, Kasaragode

Sunday 16 October
Agni
SAMKUTTY PATTOMKARY, Rangachetana, Thrissur

Monday 17 October
Andha Yugam
SUDHEER BABU, Lokadharmi, Kochi

Tuesday 18 October
Naga Mandala
P. VIJAYAKUMAR, Dhanush Theatre, Pachalam, Kochi

Wednesday 19 October
Labour Room
K.Y. SREEJA, Arangottukara Nataka Sangam, Thrissur

Thursday 20 October
Hijada
VINOD KUMAR MANOJ KUMAR, Celebrations, Kochi

Friday 21 October
Uratti
MANOJ KANA, Neruvambran Nataka Vedi, Kannur

Saturday 22 October
Chayamukhi
PRASANTH NARAYANAN, Prakash Kala Kendram, Kollam

Sunday 23 October
Padhom (Lesson)
JYOTISH M.G., Abhinaya Theatre Research Centre, Thiruvananthapuram

FRIDAY 14 OCTOBER

Porulmozhi

Written by SURESH BABU SREESTHA

Directed by PRAMOD P AYYANUR
Neruvambran Nataka Vedi, Kannur

Duration: 1.30 hrs

Synopsis of the Play
On his way to Sarvajna Pita, Sri Sankaracharya comes across a Chandala. Keeping abreast with the customs prevailed then, Sankaracharya asks him not to block his path. In response to this command, Chandala enlightens Sankara with the futility of racial and caste differences; and also proclaims the ultimate truth of humanity. The utterance of great truth by the Chandala opens the inner eyes of Sankara and he enquires who this man is. As the enquiry is in progress, Lord Siva appears before Sankara. Sankara is convinced that Chandala is none other than Lord Siva to test him. The people of northern Malabar worship a god named Pottan Theyyam who they consider Lord Siva¬incarnate as Chandala.

This mythological story has orally been passed from generation to generation. The life of Chandala was burnt to cinders to the brutal tortures of the upper class. Porulmozhi is a search into the unknown truth in the life of the Chandala in the contemporary world.

Director's Note
The play Porulmozhi is a present-day trial where the myths of Pottan Theyyam and the life of Sankaracharya are amalgamated. It is designed in a simple way so as to enable the spectators experience the effect of a past story in the light of present-day events, with the help of scene settings, sound and light systems and the costumes. The rhythm and order of the life of the common man who loves the land he is born to, have been used as background music. The play highlights man's rituals, his ways of worship, gods and goddesses, festivals, death, and tears. The scenic instruments made of reeds and scene¬-set with palm leaves and banana tree stems give the playa true picture of life of the common man in the northern Malabar. I have tried to turn the play into a witness of history with all its features which are closely related to the life-style of the down-trodden.

Cast and Credits
Pramod Payyanur, Suresh Babu Sreestha, Mohan Mullikkal, Prakasan Chengal, K.K.R. Vengara, Gopachandran, M.K. Jayakumar, Manu Veeranjira, Biju Kottila, Asokan, M., Dhanesh, M., Dhanesh Manniath, Sreeni, K., Prathapan, Jayaprakash, Prakasan, Biju P., Reena Varghese, Varghese, Vinodkumar, P.V.

SATURDAY 15 OCTOBER

Pavangal

Written by VICTOR HUGO

Adapted and directed by GOPI KUTTIKOL
Sunday Theatre, Kasaragod

Duration: 1.45 hrs

Director's Note
"It is not my life... This is imposed on me." Les Miserables does not lose its significance as long as there continue to exist the cruel prejudices of organized society that generate infernos by yoking human endeavour with destiny amidst progressive worldly activities founded upon law and custom, and as long as the human community suffers from ignorance and poverty caused by the three issues of the degradation of men: utter poverty, the humiliation of women due to hunger, and the stunted growth of children due to illiteracy.

About the Director
Gopi Kuttikkol is the director of Sunday Theatre, a prodigious children theatre in India. He has written and directed plays which have won highest prizes in competitions held by the Kerala State Festival, State Youth Festival and State Higher Secondary Arts Festival. He has twice won the prize for the Best Director at Amateur Drama Competition. He has led his troupe in its tours in Kerala, Karnataka and Mumbai. He is the author and director of nationally acclaimed boat-play Jalasathru, Black Letters and Randuperum. Gopi enjoys teaching at drama camps and has functioned as a resource person for teaching drama at Kalakshetra in its the Higher Secondary Department. He has also directed the light-and-sound shows entitled Paths of India and Keraleeyam. For Kasaragod District Panchayat, he directed a documentary film on folk arts. Salam Kayyur is another documentary that he has directed, and it was broadcast by the Kairali television.

Cast

Madu Bedakam, Kumaran Dosthi, Ramakrishnan Chalingal, Aneesh, N.K., Haridas, K.P. Sasikumar, Cochin Rahman, Majeed, Rajesh Kolathur, Ajayan Kalavayal, Jithin, Master Sidharth (Kunhunni), Vipin Das, Asha Das, Jyothi Kalanad, Prasanna Beembungal, Usha Kasaragod, Athira Mol, Sajitha Kanathur, Karthikeyan Omba, Vipin

Credits

Music: Vijesh, Udayan Kundamkuzhy

Art Direction: Amal Alesh, Peethu

Costume Designer: Bindu Surendran

Studio: Ujin Shukur

Stills: Sunil Yadavu, Dinesh Insight

Lighting: Ashokan

Choreography: Hari Ramachandran

Technical Advisors: Adv. V. Jayarajan, Prof. M.A. Rahman, Sunni Joseph, P. Gopalan Master

Lyrics: Vijesh

Associate Director: Mani Prasad

P.R.O.: K.S. Gopalakrishnan

Creative Contribution: Vijesh, Satheesh Babu, Purushe Bethurapa, Satheesh Gopi

Graphics: Mediavision

Stage Manager: G. Suresh Babu

SUNDAY 16 OCTOBER

Agni

Written by
Dr VAYALA V ASUDEVAN PILIAI

Directed by SAMKUTIY P ATIOMKARY Rangachetana, Thrissur

Duration: 130 hrs

Synopsis of the Play
The play Agni deals with the life and struggle of a young man Unni, who left home years ago because of his fight with his two elder brothers. Unni believes in a socialist, egalitarian system of society while his elder brothers want to possess everything for themselves. After leaving home, Unni becomes the ferry-man at the Ganges (Ganga), taking the pilgrims across the river.

After receiving the sad news of the death of his mother, Unni reaches home to attend the funeral ceremonies. He is welcomed by his beloved Devi, and his uncle. Fearing Unni might claim his share in the family property, the two elder brothers turn violent against him. Their uncle requests the brothers and Devi to forget their quarrels and become children once again. All of them agree. Thus, the three brothers and Devi become children, and their uncle takes all of them to a garden to play, as they used to in their actual childhood.

The three brothers and Devi play their good old games and are happy with their changed roles. In one of the games, Pakarnnattom, they play Promitheus bringing fire (agni) from heaven in order to uplift the down-trodden. The elder brothers take the role of the authorities who can punish, while Unni plays the role of Promitheus. As the game progresses, it assumes different psychological layers. The elder brothers still retain their hatred towards Unni and wait for the earliest opportunity to kill him. In this game, Promitheus (Unni) is punished by the authorities (elder brothers) and Unni is stoned to death as part of the game. Devi (like Kannaki) curses the elder brothers, and she finally decides to fulfill Unni's duties of taking the pilgrims across the river Ganges.

About the Director
Samkutty Pattomkary is actively involved with theatre in Kerala, and has worked as script¬writer, technical director, director, painter and sculptor. Samkutty Pattomkary took his Bachelor's (BTA) and Master's (MTA) degrees in theatre arts, with first rank, from the University of Calicut, Kerala. He also possesses a five-year painting diploma (NDFA) from Government RLV College, Thripunithura, Kerala. He has worked as director for more than 30 productions; as light, scenic and costume designer for over 100 theatre and choreographic productions; and as art director for Malayalam movies. He has also acted in a few movies.

Samkutty Pattomkary has been a guest lecturer with School of Drama, Calicut University. He has been a junior research fellow of the Ministry of Culture, Government of India, and is pursuing his doctoral research in theatre at the University of Calicut, Kerala.

Director's Note
The play Agni is a journey of passion of youth and the assassination of truth and brotherhood. In any case, greediness does not function straight or in black and white. It culminates in assassination, a ritual in our social context. Agni performs to this ritualistic path of social assassination.

The plot of the play represents the life of the youth in a special period in the history of Kerala, which enables the social reformation in the analytical view of nationality. The characterization structure of this written text is deep rooted in the mainstream version of Kerala society. So the interpretation of the play addresses the representational (cultural, political) sphere of Kerala youth consciousness from 1970s with the indigenous performance tradition. The character of this play attains historical depth in the context of nationality. For example, 'Unni' is not only a common name, but it is also an iconic natural image of 'travelled youth' of a social movement. 'Home' is a national concept and 'Devi' is a sign of fertility and love. In the introductory part of the play, the poem about Ganges says, "Ganges is not only a river, but also a cluster of culture and consciousness of social construction." So, we are stepping into a reformation. In the end, the play discusses the assassination which functions in our mind, and about war, which is also charted in our mind.

Cast

Sajeevan N.K., Habeeb Khan, Prathapan Ramkumar, Priyan Alath, Unnikrishnan Velakkath, Rinny, Kalamandalam Subeesh, Binsad, Jomon, K.J., Jishya Jayan

Credits

Music: Universal Lovers

Song composed by: Bijeesh Krishnan

Choreography: Dharmaraj

Light Design: Jose Koshy

Properties: Rajesh Thachan, Jinto Ponnore, Sujith, Sumesh, Rajan

Costumes: Suresh Mechery

Make-up: Suresh Muttathy

Stills: Sunil Sukhada

Stage Manager: Madhu Kariat

Graphic Design: Fantasy

Production: E.T. Varghese

Production, Design & Direction: Samkutty Pattomkary

MONDAY 17 OCTOBER

Andha Yugam

Written by DHARAMVEER BHARATI.
Translated by Dr A. ARAVINDAKSHAN

Directed by SUDHEER BABU Lokadharmi, Kochi

Director's Note
Andha Yugam, a poetic play by Dharamveer Bharati, is an important play in the repertory of Indian theatre. It has been attempted by several major Indian directors. It explores the ethics of war and the eventual transmission of revenge and extremism into the human psyche.

The contemporary atmosphere of war and antagonism in different manifestations, and the violence breeding in the psyche of human race prompted this independent adaptation of Andha Yugam in Malayalam. The central character of the play, Aswadhama is a feature of many, who are victimized to wander, armed with hostility and disgust. He is living beyond the epic of Mahabharata into an everlasting, ever living expression.

Thus, this production recollects the contemporary history of war, hatred and revenge and uses documentary footages to develop the stage language.

The play exposes the victims and also the 'heroes' who silently spread the message and seeds of violence. The blindness is the result of hatred of the victim and the attacked, also of the manipulators who refuse to see into the future. This Brahmastra of Aswadhama is the result of all these.

Gandhari blinds her eyes to escape the pretensions of dharma, ethics and morality. She says to Vidura, "I told Duryodhana, victory will be with dharma only, but was non-existent. The one, whom you call as Divine, is a cheat who limited dharma to his own fancies."

Aswadhama has transformed into a powerful bomb that can explode at any moment of time. He asserts to all war¬mongers of the world and to all who watch and enjoy war from their drawing rooms. "You, the gods of skies, you the ones who gaze war from your own seats, I, Aswadhama blind with anger, have been transformed into the Brahmastra that can destroy the whole."

About the Director

Sudheer Babu was trained in theatre at Lokadharmi. He was awarded with a senior scholarship for advanced training in theatre by the Ministry of Culture, Government of India for 1999¬-2001. Sudheer has acted in several plays, including Poranadi (K.N. Panikkar), Nandan Kadha (Indira Parthasarathy), Medea (Euripides), Macbeth (William Shakespeare), journey towards Deep North (Ajith Basu) all directed by Chandrahasan, Tughlak (Girish Karnad, dir. T.M. Abraham.), Randu Anthyarangangal (dir. Ramesh Varma) and Mathavilasa-Bhagavadajjukam (directed V.R. Selvaraj).

Sudheer Babu is an art director, and has done many productions, including Madhuve Hennu, and Aalibabavum 40 Thirudarkalum, and many children's plays.

Sudheer Babu participated in the International Festival of Ancient Greek
Drama in Greece, 2001, as an actor in the Malayalam adaptation of Medea. He won the national award for the best play and best director for the play Andha Yugam from the National Multilingual Theatre Festival, Cuttack, Orissa 2004.

Currently, Sudheer Babu is teaching theatre at Rajagiri School, Kalamassery.

Cast

Aswadhama: Sumesh Chittooran

Gandhari: Jyothi, K.R.

Dhrutarashtra: V.R. Selvaraj

Krithavarma: Cigin Sukumar

Sanjay & Owl: Pradeep Chittoot

Vidura & Crow: Kannatte Kalesh

Kripacharya: Ajaikumar Thiruvankulam

Duryodhana: Santhosh Piravam

Credits

Set: Jolly Antony

Properties: Sumesh Chittooran

Music Direction: Bijibal, M.

Sound: Praful Gopinath

Costumes: Joy, P.P.

Lighting/Documentation: Gireesh Menon

Stage Assistance: Vinaykumar, M.M. & Sanosh Palluruthy

Production-in-Charge: Madan

Publicity: Kannatte Kalesh

Research: Jithesh Chottanikkara

Graphics & Video Editing: Pranav

Production Collaboration: Changampuzha Samskarika Kendram

TUESDAY 18 OCTOBER

Naga Mandala

Written by GIRISH KARNAD
Translated by MAHESH M.R.

Director by P. VIJAYAKUMAR
Dhanush Theatre, Pachalam, Kochi

Synopsis of the Play
Naga Mandala is based is on oral tales from Karnataka. It is an allegory of women’s search for fulfillment. The play portrays the loneliness, dejection, love and hatred derived from marriage. These tales are narrated by women—normally the older women in the family—and it serves as a parallel system of communication among the women in the family, and a folk consciousness is created in the listener. Here, Rani, the female protagonist of the play, portrays a metaphor for the situation of a young girl in the bosom of traditional family set-up, where she sees her husband only in two unconnected roles - as a stranger during the day and as a lover at night. Inevitably, the pattern of relationships she is forced to weave from these disjointed encounters, must be something of a fiction. The empty house Rani is locked in could be the family she is married to and it is the fixed stage throughout the play. The protagonist Rani, a girl much loved by her parents, Rani's husband who is both cruel and womanizer, the blind Kurudavva who loved Rani and the passionate Naga Raja who is agonized for her love are the major characters. The presence of the folk elements which can be frequently seen in the play has its own relevance and influence on the play. And, it should be mentioned that the triangular relationships and the triple ending can be visualized graphically as 'mandala'.

Even though the play breaks the traditional narrative device of story¬telling, at the same time, it uplifts the supposedly feminist ideology through an unconventional mode of story telling. Director's Note
Naga Mandala is pregnant with the visual richness of the folk events. It is the perfect example, which depicts how the overlapping of the relations merges life to love. In the play, the director attempts to narrate the lost love of the Naga Raja who desires to become a man. Besides, this story is an instance for portraying how a woman's own niches such as her solitariness, dreams, desires and complexity are alienated by the rules of the society through the roles of the father, the husband and the son.

This play is made for the purpose of putting forward a play through story¬telling. The dialogues that accompany music, is another noticeable aspect of this play. And, the music consists of only the folk songs and folk expressions.

About the Director
P. Vijayakumar, a contemporary playwright in Malayalam, was educated at the Sanskrit University at Kalady (M.A. Theatre). He is currently a research scholar at the School of Letters, Kottayam. His directorial debut came with the play, Prema Leghanam, based on a novel written by Vaikkom Mohammad Bashir. Later, Vijayakumar directed Anton Chekov's Bear and Girish Karnad's Naga Mandala. Vijayakumar also acted in the classical play, Mayaseethangam, directed by Ramesh Varma.

Cast

Gayathri Sathyapal, Anju S. Nair, Hareesh, Vijayakumar, Nithash, Shine, K.K., Shihab, Vinovin, V.A., Ligiya

Credits

Music: Santhosh K.U.

Light Designer: Balasaravanan

Set Designers: Manoj, Kalesh, Solu

Costumes: Brilley

Make-up: Soumya, Jija, Maya

Production Executive: Sreekanth

Stage Manager: Sajan, P.D.

WEDNESDAY.19 OCTOBER

Labour Room

Written and directed by KY SREEJA
Arangottukara Nataka Sangam,
Thrissur

Duration: 1.20 hrs

Synopsis of the Play
Dusk. . . A labour room, where time is in captivity, is the virtual space construed by the play.

Three women in advanced stage of pregnancy are the main characters; also, there are two nurses and a woman doctor. The first woman gives birth to a baby with serious complications. The doctor immediately orders for artificial life-saving arrangements. The doctor assists the ill-fated new born in its first battle of life. Unaware of her 'baby's condition, its mother repeatedly asks for her baby.

The remaining two women (second and third women) are still in labour, frequently visited by pain and anxiety. The second woman belongs to a noble family, and is awaiting anxiously her first baby. The third woman seems to have developed some problems. The former is expected to have a normal delivery while the latter might be operated upon.

The second woman appears dreamy about her still-to-be born, but the third woman is more worried about the first woman's ill-fated newborn, rather than her own problems. The two nurses are performing their duties in a mechanical way.

In the meanwhile, the first woman's repeated cries for her baby get more intense as the newborn is sinking. The doctor advises to remove all life¬supporting gadgets and hand over the baby to its mother, leaving everything to its destiny. Having got shocked with the situation, the second woman apparently forgets her state and pain. The third woman swings back to the reality and tries her best to give life to the newborn. The baby eventually succumbs. The three women are left all alone in the 'labour room'.

The Labour Room. . . where time and blood together get solidified.

The virtual reality. . . where past and future augment.

The space. . . where dawn and dusk meet.

Dawn...

Director's Note
The labour room need always be in a hospital; it can as well be in the minds of women where, words pregnant with meaning, struggle in agony to deliver unknown emotions. Here, there are no doors, no curtains, none is denied admission. Enter, witness and share the experience. . .

To cut-open the sidewall of a labour room in reality would be awesome, if not impossible. But in the play the same generates an unusual experience. Being a man, one never gets an opportunity to get familiar with a labour room. So, I was no different from the spectator when I started directing the play, and here came the first challenge.

As a director the text appealed to me because of its pace, and the manner in which the play takes the viewer to different levels of life. The actors were convinced of their roles in the play, which made my work easy. Initially, the play was conceived to be a simple play,
but the whole team took it to different levels. .

Cast

Geetha, K.J., Sylaja, M.G., Sreeja, K.V., Beenamol, C.P., Surabhi, Bindu, C.P., Saleeku

Credits

Music: Y.M. Pradeep, Prasad, K.K. Suresh

Set Design: Subhash

Lights: K.B. Hari, Hilar, P.

Set & Properties: Ramakrishnan, Manoj, Azeez, Sunil, Arunlal

Creative Contribution: P.P. Ramachandran, M.G. Sasi

Team Leader: K. Sasi

THURSDAY 20 OCTOBER

Hijada

Written & directed by VINOD KUMAR MANOJ KUMAR
Celebrations, Thrissur

Duration: 1.20 hrs

Synopsis of the Play
Hijada is a play with a eunuch as its main character. The different stages in the life of a eunuch - beginning with his childhood - his experiences both mental and physical are dealt within the play. Though born as a male, Lalla is forcibly castrated and made a 'Hijada'. The story unfolds through the sublime friendship between Lalla and a young girl Meera in the neighborhood.

In the company of his mother and sisters, Lalla develops feminine attributes in him. When his masculinity is challenged by his sweetheart, he undergoes the ceremonial rites of a Hijada. Lalla distances himself from a local cruel pimp, Mushtaq; and shifts to a different street, away from the pimp. Here, Lalla develops friendship with Meera, who feels interested in Lalla's mannerisms and habits. The camaraderie between the two brings mental peace to both of them.

On an unfortunate day, Mushtaq finds Lalla, and, again, he shows his cruel behavior towards Lalla. But Lalla finds relief in sharing his agonies with Meera. Then, one day, the street trembles in terror. Lalla goes in search of Meera's mother; on his return, he finds Meera raped by one of Mushtaq's customers. A fight ensues between the rapist and Lalla, where the former is killed.

Six months later, a pregnant Meera visits Lalla, who requests her not to visit him again. Sobbingly, Lalla questions: "Who am I to her. . . a brother, a sister, a father, a mother, a husband or . . . a wife?" However, Meera, far beyond all expectations, has found the affection of Lalla much above all relations. He is her god-incarnate.

Directors' Note
The play depicts the story of a 'mentally weak' section of the society, the eunuch, and highlights the life of the Hijadas and their agonies. We have made an attempt to portray the depth of human relationship, emotions and also the darker side of society in an effective manner; and so designed the playas a realistic one. The play is directed in the backdrop of the north Indian society.

About the Directors
Vinod Kumar C.S. and Manoj Kumar C.S., the director duo is active in the field of competitive drama for the last eight years. Exponents of live theatre, the duo writes the script and directs the plays. Hijada won the first prize in All-India Inter University Competition, Amritsar in 2002. Their two other productions, Malavazhi and Mukkanji won five awards in a theatre festival in Cuttack. Mainettathi, based on a short story in Punjabi; Veedunashtappedunnavar, and Makkansighinte Maranam both based on short stories by T. Padmanabhan; Shabdangal, based on a story by Vaikkom Muhammed Basheer; The Invisible Man by H.G. Wells; and Bayan based on a short story by Mahashweta Devi; and Mezhukuthirikal and Gunadevada in Sanskrit are the other famous plays of the duo.

Vinod Kumar is a degree-holder in acting from the School of Drama, Thrissur. Manoj Kumar is an artist and is involved fully in theatre production.

Cast

Lalla: Vinod Kumar C.S.

Mushtaq: Abhilash K.A.

Meera: Anuja Mohandas

Ratheesh Kumar, Shijuraj K.R., Gokulan M.S., Shybin, Shahanaz, Roopesh, Namitha, Nila, Krishna Prabha, Arya, Vyshnayi, Kevyasree, Vidhya, Thankam Mohan, Ranjana

Credits

Sets: Sasi Kata Kambal, Sumesh Kumar, Abhijith

Light: Manoj Kumar C.S., Neelambaran

Stage Managers: Mohan Angamaly, Muthumani

Make-up: Sasi Kata Kambal, Athira, Sarimol

Costumes: Soumya, Renju, Smitha

Music Controller: Jatheen Jathavedan, Abhilash

Production Controller: Milan, Abhilash I Chams

FRIDAY 21 OCTOBER

Uratti

Written and directed by MANOJ KANA
Neruvambram Nataka Vedi, Kannur

Duration: 1.45 hrs

About the Play

When 'we' act out 'ourselves' . . . Uratti (the wife) is widely acclaimed as a striking deviation from the beaten track of the theatrical practice in Kerala. It is a play of the adivasis by themselves and, naturally, it opens before the general public an experience, which has hitherto been reckoned as unworthy of theatrical translation.

Paniya is a tribe chiefly belonging to Wayanad district in north Kerala. They have their own cults, imaginations, modes of communication and definitely their own enemies. Their misery is considered by the authorities and a large sect of the educated mass as an invincible phenomenon. Uratti is an unprecedented effort of self-estimation and revelation. It exposes for the rest of the population the history of their deprivation.

In Uratti the platform is captured by adivasi men and women who have nothing to stage but their own life. Its idiom is discovered and developed in its own history and it is a shift - both in terms of dramaturgy and epistemology.

Uratti was awarded the best production award in a competition held by the. Kerala Sangeetha Nataka Academy.

About the Director

For the last 12 years, Manoj Kana has been actively involved with the Malayalam theatre. His 'street play journeys' like Nhangal Indiakkar Samsarikkunnu and Pattinimaranam are a direct indictment of the current socio¬political scene. His popular works include, Rebel Music, Soochika, Onnam Prathi and Currency. In addition, he has written and directed several one-act plays and street plays. His percept of theatre incessantly goes beyond the demands of 'visual fundamentalism'. In 2003, Manoj Kana was awarded the Best Director award by the Kerala Sangeetha Nataka Academy for his play, Uratti.

Cast

Seetha Balan, Anitha, K.V., Balan, K.K., Vinu, T.K., Thankachan, K.V., Balan, K., Chandran, K.V., Chaman, P., Gopalan, A.M., Bindu, K.V., Saradha, P.V., Krishnan, P., Babu, K., Rajesh, K.V., Bindu, P.P., laya, M.V, Mani, M., Ramu, A.V, Vasu, V, Unni, P., Chinju, K.V., Savitha, K.V.

Credits

Light Design: Sreekanth, Valsan Trikaripur

Music: Tribal folk music

SATURDAY 22 OCTOBER

Chayamukhi

Written and directed by PRASANT NARAYANAN
Prakash Kala Kendram, Kollam

Duration: 1.45 hrs

Synopsis of the Play

The play, Chayamukhi, is an independent theatrical discourse based on Mahabharata. When the curtain raises, we are led into a corner of the vast expanse of a forest where there are three petty thieves, Khadan, Karppan, Kadamban who earn their living by petty thefts and leading a happy life. In a moonlit night, they see six persons traveling through the jungle, and try to block their way. They are able to recognize the travelers as Pandavas, who were heading towards Virada incognito.

Another drama unfolds. All of them transform as the characters, actors, theme and play. Confining to the actors the drama mocks the very style of drama itself.

Unexpectedly, savage-looking Hidumbi enters the scene, looks at Bhima and falls in love with him at the first sight. She transforms herself into a voluptuous forest damsel. Hidumbi is carrying Chayamukhi, a magical mirror with her, which her ancestors had gifted to her. This mirror has an unusual feature. Anyone who looks at the mirror sees the image of the person whom he or she loves the most, instead of his or her own reflection. Hidumbi reveals the divine power of the mirror to Bhima. While Bhima gazes at the Chayamukhi, the face of Panchali appears in it. Hidumbi is crestfallen as she expected her face to appear in the mirror. Bhima requests Hidumbi to look at the mirror herself; she politely refuses and flees into the jungle.

As the three thieves were watching this scene, they are tempted to steal the Chayamukhi. They follow the Pandavas to the kingdom of Virada. On the way, there are torrential rains, and the journey is halted briefly; but the thieves' attempts to steal Chayamukhi are failed. As the rains turn into a slight drizzle, Pandavas resume their journey and cross the flooded river with the help of Bhima. Cunningly, one of the thieves, Kadamban, seeks Bhima's help, and Bhima charges them.

When Pandavas reach Virada, it is spring there. A third drama unfolds in the drama. Bhima kills the dreaded warrior Jeemuthan in a duel. Virata, the king and Sudeshana, his wife welcome Pandavas who decide to live in the court of Virata under different names. Sudeshana appoints Panchali as her maid and companion. Sudeshana has a brother named Keechaka who is virtually the ruler of Virada.

Bhima asks Panchali to look at Chayamukhi. She sees Arjuna's face in the mirror, but she lies and tells him that the reflection is that of Bhima. Bhima's heart is filled with joy. Panchali again looks at Chayamukhi, and again she sees the reflection of Arjuna. She is now guilt¬-ridden. Arjuna in the guise of Brihanthala enters, but Bhima sends him away saying that he has a lot of work in kitchen.

Keechaka is amorous in nature and chases every beautiful woman in Virada. He overhears the conversation among the three thieves. He wants Chayamukhi dearly and sets out on a journey in search of Panchali and Chayamukhi.

Keechaka sees Panchali in a garden and is instantly smitten by her beauty. He requests Panchali to become his wife. He snatches the Chayamukhi from Panchali and looks at it. On seeing no reflection, he becomes mad with passion. The three thieves, whose efforts to steal Chayamukhi have failed, become agitated and vexed because they fear that predestined situations in Mahabharata will not happen. So, they go to Bhima to inform about the theft of Chayamukhi.

Keechaka compels his sister Sudeshana to send Panchali to his private chamber to fulfill his wish. At first, Sudeshana tries to dissuade Keechaka, but Keechaka forces his sister to look at Chayamukhi and another truth is revealed. She obliges him, and sends Panchali to fetch a jug of wine for Keechaka.

Panchali enters Keechaka's house. When Panchali strongly objects to Keechaka's advances, he tries to molest her. Panchali somehow manages to flee from Keechaka's house with bruised lips and wounded pride. The next day, "Panchali returns to Keechaka, utters endearing words and consents to yield to his sexual urges at night in the dancing hall.

Keechaka reaches the dancing hall in dim light, knowing that Bhima is lying there to kill him. When Bhima sees the face of Panchali in Chayamukhi as it is held against Keechaka, he shudders.

The thieves have been watching the event, and snatch Chayamukhi in the ongoing struggle; however, the magical mirror falls on the floor and breaks into pieces. The thieves are crestfallen and grief-stricken. All the actors enter the stage with a mirror in their hands and on seeing their own reflection in the mirror laugh and cry. The play draws to an end.

About the Play
The play is an attempt to have a different, and independent, look at the characters and their relations in Mahabharata. The play revolves around Chayamukhi or the magical mirror, which Hidumbi gifts to Bhima during the Pandava's exile. The mirror reflects not the person who looks at it, but the person whom the viewer is desperate to see. The mirror unlocks many mysteries, forces many to lie as it continues its journey along with Panda vas to the kingdom of Virada. Three petty thieves also join the party, waiting for an opportunity to steal the mirror. The mirror is broken in the final melee. Bhima kills Keechaka, but after learning that the latter loves Panchali as passionately as he does. And just before the curtain falls, actors get out of their characters, take mirrors in their hands only to find their own faces in them

Director's Note
The play is a journey, unhindered, through the dramatic pages of Mahabharata as several shades of passionate love and sincere feelings move across the mental framework of Keechaka. Many episodes within the epic, Mahabharata, evolve into modern revisionist tales.

The characters in the play, as a whole, endure the pains and pangs for being out of time and out of place; and transform Chayamukhi into a kind looking glass that is held up against the inner recesses of a man's soul. The play takes off to a higher and a more complex level of action.

About the Director

Born to the famous Kathakali playwright Vellayani Narayanan Nair, Prasant Narayanan was first initiated to the world of Kathakali, under the guidance of Chandramana Govindan Namboodiri. Prasant Narayanan responded by authoring an attakatha (script for Kathakali), Bharatanatyam, at the age of 19 years. Later, he got trained in acting and direction from the School of Drama, Thrissur. He has more than five plays to his credit and has directed many more. Chayamukhi won the Best Script award in the Kerala Sangeetha Nataka Akademi Amateur Drama Festival, 2003. He also attended the India Festival of 1996 in Bangladesh, along with eminent theatre person Kavalam Narayana Panikkar. He has acted in a Malayalam movie, Sesham, and in more than 20 television serials. He is currently employed with the Kerala State Animal Husbandry Department.

Cast

Keechaka: P.J. Unnikrishnan

Bhima: Ajith, D.

Arjuna: Rajesh Kumar, H.

Dharmaputhr: Murali Das

Nakulan: Liburaj, B.

Sahadev: Dijeesh Gopal

Panchali: Smitha M. Babu

Hidumbi (Lalitha): Meenakshi

Thief-1: Viju, V.

Thief-2: Biju, S.

Thief-3: Rajesh Sharma

Viradan: Sunilkumar, P.

Sudeshana: Seena, L.

Jeemuthan & Hidumbi: Ratheesh

Viradas: Ajimon, Manikkuttan, Anil Prasad, Shybu, M.

Upakeejakas: Shihin. M., Sreejith, Sibilal, Sreemon

Credits

Music: Margi Retnakaran (execution: Induchudan, Vinod, Vidyadaran, Saranghi)

Light: Amalraj (execution: Binu)

Sets: Prasad Narayanan (execution: Suresh, B., Sujathan, D.)

Make-up: P.J. Unnikrishnan (execution: Mohanbabu, K.B.)

Costume: Sreejith Ramanan, Smitha, M. Babu

Stage Manager: C.R. Prince

Team Manager: K.B. Joy

Assistant Director: Murali Das, H.

SUNDAY 23 OCTOBER

Padhom (Lesson)

Written by EUGENE IONESCO
Translated by V.P. SIVAKUMAR

Directed by JYOTHISH, M.G.
Abhinaya Theatre Research Centre,
Thiruvananthapuram

Duration: 1.10 hrs

About the Play
A professor awaits a fresh pupil's arrival, brushing off the maid's warnings of the dark things that come at yet another lesson.

The pupil arrives, eager to learn, seemingly promising and bright. . . But as the pupil's limitations become evident, the professor's frustration grows and the day's lesson takes it a foreshadowed, perilous turn. It's a cocktail of violence - psychological and physical- comedy that ranges from screwball to inky black.

Director's Note
Unlike many other 'absurd' playwrights, Ionesco's plays are not just theoretical debates on the existential dilemmas. They become poems that explore the logic of illogicalness with its characters and situations out of daily life with a political undertone. Ionesco presents the absurdity of life through situations, which seem most ordinary. The production is based on this concept. It is an effort to find the spontaneity of the artificiality.

About the Director
Jyothish, M.G. graduated in Theatre Arts (Direction) from the School of Drama, University of Calicut in 1997. He got his Master's in Theatre Arts (Direction) from the University of Pondicherry in 1999. He has been actively involved in theatre since his school days. Working in Abhinaya since its inception in 1992, Jyothish has directed more than 20 plays, and has actively taken part in more than 60 productions as assistant director, actor, set/light/ costume/ make-up designer under eminent theatre directors like Maya Tangeberg (Finland), Abhilash Pillai, Prof. S Ramanujam, K.G. Krishnamoorthy, D. Reghoothaman, Niranjan Goswami, and Negro Jairo Vergara (Colombia).

His major directorial works include Shadow of the Glenn, Zoo Story, Death Watch, Macbeth, Bhagavadajjukam and Sidhartha. Many of his directorial ventures have been presented at numerous festivals like Bharat Rang Mahotsav, Rang Swarn and Prithvi Theatre Festival. He also works as an instructor for a short-term course on drama jointly conducted by Abhinaya and Jan Shikshan Sansthan, an institution for non-formal education under the Ministry of HRD.

Cast

Professor: Sreenivas VK.

Shylaja P. Ambu: Student

Vishnupriya S.S.: Maid

Credits

Set, Props and Costume Design: Sabulal, B.K.

Light Design: Sreekanth, T.

Set, Costume execution: Bineesh and Manoj

Music operation: Sam George

Stage manager: Manu, VR.

Production team: Kannanunni, Murukan

Production Manager: Bandhu Prasad