Mrichchakatikam is a big leap for women in Koodiyattam

As soon as I held the burning wick of the Nilavilakku (brass stage lamp) to perform my first Koothu Mudikkal/Mudiyakkitha ritual, my hands started trembling and I was emotionally overwhelmed. I always felt the palpable presence on the stage of my fellow actresses, my predecessors and all future actresses. I prostrated myself before the lamp. It was a moment that deserves to be recorded in the history of changing gender dynamics in traditional theater forms around the world.

In June this year, we had a dress rehearsal for our Koodiyattam play small clay cart, Adaptation of Sudraka’s classic classic mrichchakatikam – Exponent, scholar and director G. Directed by Venu.

I am playing the character of Vasantasena, a powerful prostitute. She is intelligent, wealthy, independent, has agency, and chooses a poor nobleman as her romantic partner. She provides generous support and shelter to those who seek her help, challenges a powerful villain and survives an assassination attempt.

G in Koodiyattam. One of the most striking features of Venu’s directorial efforts is the seriousness with which the female characters have been crafted, and the significant space and time taken up by the female artistes in the performances, which is rare in the traditional Koodiyattam repertoire.

Kapila as Vasanthasena, Aran Kapila as Rohansena and Anjana S Chakyar as Rajnika. Photo Courtesy: Tulsi Kakkat

Yes. Venu’s directorial debut with the adaptation of Kalidasa’s Abhijnana Sakuntalam, which premiered in the year 2000. In later works, especially Kalidasa’s adaptations Vikramorvasiyam and of Bhasa Urubhangam, The depiction of the two female characters Urvashi and Gandhari respectively attracts special attention. The director boldly departs from the original text when necessary, reinterpreting these two women with far more complexity, depth, and personality than the playwright originally intended. Both characters share equal space and prominence with their male counterparts, even though Gandhari is not the hero. Urubhangam And the original text has little to say, indicating a conscious rewriting of patriarchal storytelling.

Yet, the most radical change in the gender balance came at the end of the play when I, as the lead female artiste, was entrusted with the honor of presenting Bharatavakya – the final blessing and Koothu Mudikkal (also known as Mudiyakkitha), the ritualistic conclusion of the Koodiyattam performance.

The literal translation of the phrase Kuthu Mudikkal is ‘to tie the Kuthu’, and the translation of the word Mudiyakkitha is ‘the ending song’. It has deep spiritual and dramatic meaning. The responsibility of performing Mudiyakkitha usually rests with the lead male actor of the performance

a powerful view of mrichchakatikam
Photo Credit: Special Arrangement

Mudiyakkitha symbolizes gratitude towards the deities, the audience, and the completion of an artiste’s sacred duty. A woman could now stand as the ritual leader and principal bearer of tradition.

Contemporary Koodiyattam sees powerful, intelligent female artistes claiming the stage. As the gender composition of audiences evolves, so do the performances. Actors of all genders are forced to reinterpret their roles with a sensitivity that speaks to a more inclusive world.

While performing Mudiyakkitha, I felt the beginning of a new era. In the flame of that lamp, I see the future.

Presented by Chidagni Foundation, G. Mrichchakatikam, written by Venu, will be premiered in Chennai this Sunday at 6 pm, at Bharat Kalakshetra Auditorium, Thiruvanmiyur.

The author is a Koodiyattam exponent.