‘Madurai Veeran Kathai’, staged by Kapila Venu at the just lately revived Kottichetham auditorium of Natanakairali, in Irinjalakuda.
| Photo Credit: Photo Courtesy: Kapila Venu
Koodiyattam can’t alienate itself from Tamil or Tamizhagam, although it’s extensively accepted as the Sanskrit theatre custom that survives solely in Kerala. Chakyars, the conventional performers of this artwork kind, are believed to have hailed from Tamil Nadu. Still, tales culled from Tamil have been virtually nil in Koodiyattam.
Viewed in opposition to this backdrop, Kapila Venu’s newest choreography in Nangiarkoothu (an off-shoot of Koodiyattam carried out solely by ladies) – ‘Madurai Veeran Kathai’ – is a path-breaker. The one-and-a-half-hour efficiency was staged by Kapila at the just lately revived Kottichetham auditorium of Natanakairali, in Irinjalakuda.
A warrior turned household deity
Madurai Veeran is a Tamil folks deity standard in Tamil Nadu. His title was derived because of his affiliation with Madurai as a protector of the metropolis. He is extensively worshipped as a hero of the individuals. His title actually means ‘warrior of Madurai’. Further, there have been innumerable folks songs, ballads and dramas anchored on him.
Veeran was born right into a royal household however was deserted. Subsequently, he was adopted by a pair from the Arunthathiyar neighborhood. Growing up amongst them, he ultimately grew to become a guard in the courtroom of Bommanna Nayakan. His fame introduced him to Madurai, the place King Thirumalai Nayakar sought his help to guard the metropolis from bandits.
During his keep in Madurai, Veeran sees the royal dancer Vellaiyammal and falls for her. Vellaiyammal too will get drawn to him as a result of his placing look and proficiency in numerous arts.
One fateful evening, Veeran will get caught by the guards of nayakar whereas making an attempt to elope with Vellaiyammal from Madurai.
He is subjected to extreme punishment and the guards amputate his limbs Vellaiyammal, who witnesses this, decides to finish her life. But prayers are provided to Madurai Meenakshi wishing for Veeran’s restoration. As a solution to the prayers, he will get again his limbs. But ultimately Veeran, who believes it’s god’s will that he should die, beheads himself. After this, Thirumalai Nayakar builds a temple for Veeran, who’s now being worshipped and regarded as the household deity of many communities in Tamil Nadu.
Kapila’s histronics and the nuances of Nangiarkoothu was delivered to the fore in her depiction of Madurai Veeran.
| Photo Credit:
Photo Courtesy: Kapila Venu
Histrionics abilities
Kapila has choreographed her efficiency with an goal to focus on the main episodes that served to deliver out her histrionic abilities in full and strategies, distinctive to Nangiarkoothu. Her netrabhinaya was praiseworthy.
Veeran was accorded a heroic welcome at Madurai which has been bewitchingly choreographed. The celebration was stimulating as she enacted the enjoying of the typical musical devices of Tamil Nadu comparable to the Nagaswaram, thavil, parai and pambai. Together with two mizhavus and edakka drumming assorted talas, her efficiency was thrilling, eliciting applause from the viewers.
The portrayal of Vellaiyammal, her creative abilities and the garlanding of Veeran had been noteworthy. One may admire Kapila’s efforts to concentrate on the subtleties which mirrored effectively in the depiction of the theft scene.
Kapila Venu’s ‘Madurai Veeran Kathai’ carried out for the first time in Nangiarkoothu style.
| Photo Credit:
Photo Courtesy: Kapila Venu
Kapila’s portrayal of Madurai Meenakshi, standing on a pedestal, was awe-inspiring. Coupled with loud prayers by the individuals to avoid wasting Veeran, the ambiance was stirring. Delectable had been the charis (gaits) peculiar to Koodiyattam, particularly these employed in combat.
Through the utilization of the Three couplets from Thirukural, which play a big position in this thematic manufacturing, Tamil has grow to be part of the repertoire of Nangiarkoothu – an unprecedented gesture.
Kalamandalam Rajeev and Kalamandalam Hariharan performed on the mizhavu and Kalanilayam Unnikrishnan on the edakka.
