Sutradhar and About 10-15 Players Who Enact the Play

Paper: 2

Relationship Of Dance And Theatre, Study Of Rupaka And Uparupaka, Traditional Theatres Of India

Module 6 Krishna In Traditional Theatre

The impact of Krishna theme in Indian art, be it painting, sculpture, literature, dance or music is far-reaching and profound across India. In Jayadeva’s Gita Govinda or Vidyapati’s verses, Chandidas’ lyrics in Bengali or Surdas’ Hindi poetry, Krishna has inspired the flowering of Shringar and Vatsalya rasas all across the country. As in poetry, in painting too, the Krishna theme was depicted by miniature artists of all schools -- Rajasthani, Pahari, Basauli, Kangra, and Mughal with intricate details of the flora and finery described in literary sources and enriched by the fertile imagination of the artists.

The performing arts too have a rich repertoire of Krishna-based themes, with Krishna Lila being enacted in song, dance, music and drama. In Natyasastra, Bharata states that the gods are never so pleased on being worshipped with scents and garlands as they are with the performance of drama.

Krishna himself is said to have been trained in the dramatic arts in Guru Sandipani’s ashram. No wonder that the Krishna theme is so popular in folk theatre forms across India. Even watching a play or nrityanatika (dance drama) based on a Krishna theme is considered an act of holiness that accrues merit or punya.

Literary Sources of Krishna Lore:

The stories about Krishna are found not only in Mahabharat and Puranas like Padma, Linga, Narada, Kurma, Vayu, Agni, Brahma, and Vishnu Purana but it is the Bhagavata Purana that provides rich details of Krishna’s exploits and dalliances. Krishna is a rich resource for playwrights with his multifaceted persona as a mischievous child, a carefree cowherd, a mighty warrior, a shrewd strategist, a faithful friend, an amorous youth, a wise philosopher, and an enlightened yogi, and so he provides ample scope for describing his divine sports, the Lilas of Krishna.

Jayadeva’s Gita Govinda is beautifully suited for staging and it became popular throughout the country and influenced folk dance drama in various parts.

The dance of gopa, cowherds with Krishna and Balarama finds mention in the play Balacharita by Bhasa, where the dance is called Halliska. Silpapadikaram, the famous Tamil epic, too describes the dance of Krishna with gopis as Acciyar Kuruvai, the dance of the milkmaids.

Many of the Raasa dance dramas are enactment of the Raasa Panchdhyayi, the five chapters in Bhagavata Purana. The Vraj region is the oldest centre of Raasa Lila and also its place of origin. There is an extensive collection of songs in brajaboli on the Krishna themes.

RAASA LILA / रासऱीऱा

Ram Lila and Raasa Lila are facets of devotional theatre, the Bhakti Marg that is one of the methods to spiritual salvation. Although Ram and Krishna are Vaishnava gods and avatars of Vishnu, the methods

of devotion, prayer, placating and pleasing the two are vastly different. Similarly, although Ram Lila and Raasa Lila refer to the dance dramas that are based on the themes of the episodes from lives of Ram and Krishna, the two folk theatre forms also vary in many ways from each other. Ram Lila is a very public, large scale, grandiose performance, with a lot of processions, fireworks, and festivities. Raasa Lila is more private and personal performance, smaller in scale though more polished and professional in performance.

It was during the 15-16th centuries when Vaishnavism and Bhakti movement swept across both the southern and northern part of India that folk theatre forms like Ram Lila and Raasa Lila emerged as an entertaining yet spiritual experience. As it often happens, efforts to repress cultural and social norms resulted in a flowering of art and music, dance and theatre.

The Krishna theme is also seen in various other forms of dance and drama. From the 9th century, when marked development and growth of regional languages took place, the Sanskrit theatre tradition too was getting adopted to regional languages. An excellent example is Jayadeva's "Gita Govindam", which occupies a key position in the history of both music and dance that led to the flowering of classical musical dance-dramas in local languages, in different parts of the country. Yakshaganas of Karnataka, Kuchipudi Bhagavata Mela Natakams of Andhra Pradesh, Koodiyattam of Kerala, AriyaKoothu, Bhagavata Mela and Kuravanjinatakas of Tamil Nadu.

Among these, Yakshaganas, Bhagavata Mela and Kuravanji Natakams are nrityanatakas (dance dramas). The Yakshaganas and Kuravanji

natakas happen to be popular varieties, while the Bhagavata Mela Nataka is a refined classical dance drama.

RAASA LILA OF MANIPUR / मणिऩरु की रासऱीऱा

The Raasa Lila of Manipur is a devotional offering to Krishna and is as steeped in spiritual fervour and energy as the Raasa Lila of Braj. However, the dance forms are very different in pace, costume, style, and stance.

The Manipuri Raasa Lila is performed mainly by girls and the movements are lasya, feminine in being slow, graceful, sinuous and lyrically fluid in motion. The Raasa Lila, the epitome of Manipuri classical dance is based on the celestial Alaukik, and eternal love of Radha and Krishna and reveals the sublime and transcendental love of Krishna and Radha and the Gopis' devotion to the Lord. It is generally performed in an enclosure in front of the temple all through the night from dusk to dawn and the audience are also devotees engrossed in the performance. Raasa performances are seasonal and varied and performed at the temple of Shree Govindajee in Imphal on the nights of Basanta Purnima / बसंत ऩणू िमि ा, Sharad Purnima / शरद ऩणू िमि ा and Kartik Purnima / कार्तकि ऩणू िमि ा and at local temples later. The Manipuri Raasa Lila performance is a combination of solo, duet and group dances. This highly stylised form of dance has sublimity, subtlety and grace. The richness of the costumes gives lustre to its beauty.

All the technical elements mentioned in the Sangeet Shastra are found in Raasa Lilas such as Nritta (pure dance), Nritya

(interpretative dance) and Natya (theme expressed through 4 kinds of abhinaya), two distinct divisions of tandava and lasya, the prabandhas (musical compositions). The songs are sung in Brajaboli, old Bengali, Maithili Sanskrit, Braj and now in Manipuri language written by devotional poets like Chandidas / चंडीदास, Vidyapati / वि饍याऩर्त, Gyandas / ज्ञानदास, Jaydev / जयदेि and others. They have a variety of talas ranging from 4 beats to 68 beats and their various rhythm patterns as well as dances on Nritta and Nritya prabandhas.It is said that the swaying movements of the neck and torso are inspired from the bamboo trees lilting in the breeze which makes Manipuri dance so graceful.

ANKIYA NAT / आन्ककयानाट

Ankiya Nat is a beautiful blend of the desi and margi traditions with one act plays that are a mix of Brajboli and Assamese. Pragjyotishpur / प्रगीयोर्तश्ऩरु , the ancient name of Assam, finds mention in many stories related to Krishna. The Ankiya Nat of Assam are also based on anecdotes and tales of Krishna. This one-act drama format was created by Sankaradeva who wrote many plays for it.

His earliest play was Chinha Yatra / चचकह यात्रा and others like Patni Prasad Nata / ऩ配नी प्रसाद नाट, Kali Daman Nata / काऱी दमन नाट, Keli Gopla Nata / केलऱ गोप्ऱा नाट. The make-up room in Ankia Nat is called Cho Ghar and the characters wear make-up that matches their innate nature with red denoting beauty and white for spiritual. Krishna is of course blue-skinned with yellow garb. Ankia plays are rich in music, song and dance rather than theatre. Krishna solo

dances are called Krishna Bhangi / क्रिष्ि भंगी. It is the satra tradition that has kept the folk theatre like Ankia Nat alive in Assam.

Traditionally in the Nam Ghar, there is a narrow and long acting corridor and audience sit on either side of it. At one end, the Bhagavata Purana is placed reverentially on a throne in the Manikuta. There is a sutradhar and about 10-15 players who enact the play. Though like in most folk performances, earlier only men acted, now women are included in the cast. Performances begin with an elaborate ritual of drumming, songs and dances commencing at the archway of lights (agni-gaḍa) constructed on the acting area, opposite the sacred room. Special songs are sung in praise of Krishna. At last, the sutradhar makes a spectacular entrance from behind a curtain at the archway accompanied by fireworks (sometimes) and dancing.

The sutradhar performs a stately dance during which he offers his humble respects to Krishna before the Manikuta. Then he recites a verse from the play to be staged and concludes with a song. A red curtain is held up and Krishna makes his entrance by dancing majestically towards the Manikut. There are giant effigies made of bamboo and covered with papier-mache painted to represent demons and animals. In some productions, the figures are at least 15 feet high and must be manipulated by several actors at once. Masks of birds, snakes, monkeys and bears are worn whenever a particular play demands the presence of such fanciful characters. Scenes of conflict between the forces of good and evil highlight an evening of Ankiya Nata. Brief songs and dances close the performance in the wee hours of the morning.

The description given above pertains to the performance of the dramas within the confines of the Nama-ghara / नाम-घर. The Ankiya Natas of modern times are, however, enacted on stage in the theatre halls and other public places as well. Although the same (elaborate) rituals are followed, certain changes sometimes have to be incorporated in the stage-version of the plays in order to adjust to the different ambience. But, of course, the content of the play is almost always unchanged from the traditional format.

PRAHLADA NATAKAM, ORISSA / प्रहऱाद नाटकम ओररस्सा:

The Prahlada Natakam or Prahlad Drama is a stylized form of Oriya theatre widespread in Ganjam district, southern Orissa. The tradition of this folk form was started in the late 19th century by Raja Ramakrishna Chhotaraya / राजा रामकृ ष्ि छोटराय, an Oriya feudatory ruler of Jalantar, who conceived the first performance. The first text was actually written in Sanskritized Oriya by Gopinath Parichha / गोऩीनाथ ऩरर楍छ. As a gesture of gratitude to the King who patronized him, the poet not only dedicated the work to the ruler but also ascribed its authorship to him. Within a few years of the first performance, Prahlada Natakam / प्रहऱाद नाटक became so popular that it inspired rulers of neighbouring princedoms to prepare other versions.

In Prahlada Natakam, the plot remains the same, based on the myth of Narasimha, Vishnu's man-lion avatar, and there is only one play in its repertoire. Similarities of make-up and costume suggest that Terukkuttu of Tamil Nadu and Yakshaganam of Andhra Pradesh

influenced Prahlada Natakam. But the theatrical style is close enough to Suanga and Yatra of Orissa.

It is usually staged as arena theatre, presented open-air and on level ground, sometimes in a temple precinct but there is always a five- or six-tiered wooden platform. The musicians normally comprise three instruments: a harmonium, a double-ended drum called mardal, and gini i.e. a pair of small cymbals. Nowadays, some groups have started using violin and trumpet as well, adding a touch of glamour, and enriching the sound. Prahlada Natakam draws heavily upon traditional Odissi music, with over 100 songs. Each of these songs are set to a raga and tala. Although songs predominate, there are also long prose passages, besides prose dialogue linking the sung passages.

The most prominent role is that of demon Hiranyakasipu and is also the most demanding, with vigorous dance-like movements and is indeed a treat for the eyes. Though Narasimha appears only in the last, climactic scene and is seen onstage for only around fifteen minutes, his is also a difficult role. Being in the divine role of a Vishnu avatar, the actor fasts on the performance days. Putting on the lion mask and tapered nails simulating claws, he stands amazingly transformed, suddenly appearing to tear up the arrogant King at twilight.

In some temples, Narasimha's mask is worshipped in a temple and believed to have divine powers. In some village performances, Hiranyakasipu wears no mask, but his face is painted bright red to suggest ferocity. His moustache is made of thick ropes of black thread twined with golden zari or brocade and runs down to the

nape of his neck.There it is tied in a knot. Both he and Prahlada wear colourful skirts and huge magnificently crafted headgear embellished with glittering glass beads. The major male characters’ sport shoulder decorations and artificial ornaments and are costumed in such an exaggerated manner that they seem masked from head to foot. In keeping with the stylized make-up and dress, the acting is choreographic, having a strong element of dance.

KRSHINATTAM / कृ ष्नाटम Krishna worship in Kerala was greatly encouraged by the lvar Bhakti movement in Tamil, and the Mukunda Mala / मकु ंु द माऱा by King Kulashekhara is sometimes compared to Gita Govinda. It is believed that Gita Govinda reached Kerala in the 12th century and became popular as Ashtapadiattam. Krishnattam, the dance of Krishna, is a folk form of dance that was started in Kerala by Manadeva / मानदेि, a Zamorin of the royal family who is said to have been inspired to write a devotional poem in Sanskrit called Krishnagiti which formed the basis of a series of eight plays, performed over nine nights, beginning with and ending with the birth of Krishna. The eight plays are: Avataram / अितारं, Kaliyamardanam / कलऱयामदिनम, Rasakrida / रासक्रिडा, Kamsavadham / कंसिधं, Swayamvaram / स्ियंिरम, Banayuddham /

बाियद्धु ,ं Vividavadham / विविधिधम and Swargarohanam / स्िगािरोहिं. The costumes are elaborate and make-up is detailed with distinctive masks of various characters. The opening stuti of Krishna gitam is : Jagathi sukritilokai: nandithaananthidasa

जगती सकु ृ र्तऱोकै : नन्कदथानान्कथदासा

Karaviranithavamsiibhasamanasamana|

करविरानीथि륍सीभसमानसमान Pashupayuvathibhogya devathadevatha sa

ऩशऩु ययू चथभो嵍य देितादेिता स Sachalajaladhapaliimechaka me chakaasthu

सचऱजऱधऩऱीमेचक मे चकास्थ ु This is performed at Guruvayur temple in Kerala every year. However, as an offering to the Krishna temple, some families may sponsor one day of the play to be performed in the temple, any time during the year. Each of the play is suggested for propitiating the deity for a specific purpose. Avatharam, for a birth of a child. Kaliyamardhanam, to remove the effect of poison. Raasakreeda, for well-being of unmarried girls, to end disputes between couples. Kamsavaddham, to remove enemies.

Swayamvaram, for a happy matrimony.

Bana Yuddham, to remove impoverishment, for good farm production. Vividhavadham, to eliminate poverty and increase yield from farms. Swargarohanam, for peace of a departed soul The actors used any or three colours for their basic make-up. (1) pazhuppu, an orange with more red than yellow (2) minukku, an orange with more yellow than red (3) Paccha, a particular shade of

green which has more yellow than blue. If he was to wear a chutti, the chutti artist applies it. The chutti was two white protruding borders which extended from ear to ear along the jaw and chin line.

DASHAVATARI KALA / दशाितारी कऱा Dashavatari Kala of Gomantaka (Goa) is performed in the Sabha Mandap in presence of the Utsava Murti which has been earlier taken in procession. The Dhemali enters the stage first with Ganesh and Ridhi-Siddhi making an appearance followed by Sarasvati. After this preamble, the story of the avatars is enacted starting with Matsya, Kurma, Varaha, Vamana, Parashuram, Rama, Narasimhan, Budhha, and Kalki and of course Krishna.

BHAGAVATA MELA / भागित मेऱा Of the many legends surrounding the Vishnu Dasavatar, perhaps the most dramatic is the Narsimha avatar, wherein in his half-lion half- man form, Lord Vishnu overcomes the boon bestowed on the vain King and kills him at twilight, at the threshold of his house, using neither astra / अस्त्र nor shastra / शस्त्र.

The birth of Narasimha is celebrated in the Narasimha temple in Mellattur, 18 km from Thanjavur in Tamilnadu, with a dance drama, which accompanies and illustrates the text that is narrated and sung aloud. There is an elaborate mask and costume which are venerated as holy objects. The dance drama is enacted on a stage placed in front of the presiding deity.

Bhagavata Mela is popular throughout Tamilnadu. It is considered to have originated from Melattur in Thanjavur district. The term

Bhagavata Mela signifies the troupes, which perform the stories of the Bhagavata, i.e. the myths about the incarnations of Lord Vishnu, from the famous Bhagavata Purana. It is performed as a part of the annual festival of Narsimha Jayanthi in the month of May-June.

A large flat canopy and a small stage are put up in the streets in front of the temple and the dramas are performed on it. This is done to dedicate the deity installed in the front hall of the temple.

Bhagavata Mela is a form of dance-drama, graceful performed accompanied with mellifluous vocal and instrumental music and dialogues of high diction and suggestive abhinaya. Whenever there is a violent scene of war and killing, they are not enacted but are only narrated as incidents, off-stage. The Bhagavata Mela is full of dramatic interest that is enhanced by using classical music and dance. The drama can be characterized by several steps, such as: Firstly, the performance starts with the appearance of the Konangi or buffoon. Konangi / कोकनगी dances for a few minutes. This is followed by a group of musicians singing the Todaya-mangalam / थोडाय-मंगऱम, which is an invocation song. After the invocation song, an introduction of the drama that is to be enacted is expressed in short.

A performer in the dress of Lord Ganesha then appears to bless the play. This performer is a, young boy wearing the mask of Ganesha dancing to the accompaniment of background music to give the feel of Lord Ganesha. Each actor or character is then introduced. Then the actual drama begins. The drama contains mainly dialogues of Prahlad, Hiranakashipu (father of Prahlad) and Narsimha. The story places its own demands on the actor portraying Narsimha. The actor

prays and fasts before donning the mask of the god, and at the close of the performance, all the performers (Bhagavatars or Bhagavatulus) circumbulate the deity within the temple. The musicians follow them, singing devotional songs.

This festival is celebrated to signify the victory of Prahlad over his evil father, the king Hiranyakashipu through the intervention of Vishnu in his man-lion avatar (incarnation). The drama is characterized by natural, flowing movements that enhance the body language used to convey the main theme. The actors are always male. The astounding splendour, exuberance and purity of purpose of this tradition maintained to this day by Sri Lakshmi Narasimha Jayanti Bhagavata Mela Natyam Nataka Sangam or popularly known as "Melattur Natarajan's troupe". When the Sangam took to the tradition in 1938, the book of words for only five natakams namely Prahlada Charitamu, Markandeya Charitamu, Harichandra Natakamu, Rukmangadha Natakamu and Usha Parinayamu were available at Melattur.

By 1994, five of these, namely, Hari Hara Leela Vilasamu, Seetha Parinayamu, Kamsa Charita Natakamu, Rukmini Kalyanam, and Druva Charitamu were choreographed and staged. In 1997, the natakam Sati Savitri was also staged. With this, eleven natakams are sanctified. The 50th year of the Sangam celebrated in 1990 at the national level, marked the establishment of a school, Bhagavata Mela Vidyalaya, to impart systematic training to younger generation.