A Unique Art Research Place in The Making of Edishkat, Aurovela

My entry into the world of performing art and story began when I was 10 years old. And this was completely due to my grandmother, who would watch three films over a weekend. And, I was his main companion.

After dinner, we had this story, singing, dance and performance sessions for children [we all lived in semi-joint families] before going to bed. It was also time when cinder Came to our city – My grandmother became addicted to the film. I too, especially the scene where Dharmendra is on a water tank, who is threatening to jump while proposing his intense love for Basanti, while calm friend Amitabh Bachchan sits on the verandah Tea From a saucer with your denim jacket.

I wanted to be like Amitabh Bachchan. I wanted denim jacket, that saucer, and that tea. After my continuous request and long-term tantrum-finger, she managed to find me all three, but in reality what we saw in the film was not. After wearing jackets and holding the sauce in my hand, I started turning into adult Amitabh.

My first audience was my grandmother, who was very happy with my act. Then further, he started suggesting Bachchan’s short work in every social program of our family. Thus my journey began to tell a story or to become a storyteller.

Many years passed. I had the privilege of working with professional companies, demonstrating street theater, studying in a theater institution for four years – yet somewhere, as an artist, as an artist, as an artist, as a storyteller, I felt that the equipment I was using was not roots and did not feel. [maybe because of my exposure to the rich traditional performance culture I had grown up in]These were random feelings that were constantly swallowed.

After studying my theater, I joined a theater group that enabled me to study martial arts and other traditional forms. This is where I met Venpani, who came to work with my director.

For the first few weeks, my conversation with Venpani was limited [because of my lack of language skills and my inherent Mallu intellectual snootiness]I thought what she was doing? I was not even familiar with revolutionary plays.

Artistic director Vinay Kumar | Photo Credit: SS Kumar

My love for western classical music was then at its peak, but was limited to the title. I will travel to any distance to get a copy of any music that was available. One day, Venpani requested me to go to my room and pick up something she needed. Landless, I went to the hotel with a friend, and when I opened his cupboard – what I saw changed my life.

A wardrobe was expected to fill me with a cloth, which was piled up in Mahal, Bakh, Verdi, Request Arius, and so on. I came back, and looked at Venpani in a different light, with respect.

That day we had a conversation which lasted for about three hours. We both knew – I had found my guru, and he got his subject/colleague.

At the beginning of our journey, a compromise of both of us was the magnetic effect of a traditional artist than a contemporary artist, which depends a lot on the intellectualism of his content. Our effort was to view the mechanics of various traditional demonstrations and create a unique Adishki material language on the stage.

Artists who rehearsed for the festival ‘remembering Venpani’ in Adishakti. Photo Credit: SS Kumar

From each of our plays – Brohanla To Ganapati – Not only the production became, but the research platforms allowed me to expand the body and the possibilities of the actor’s body and dynamics.

The years of this inquiry finally made it possible for us to create a demonstration method based on our examination of breath, emotion and physical structure.

Veenapani used to say – at the end of the year, if we all [actors, creative people, staff, etc.] Felt that we have not increased emotionally or psychologically, then that collective was dead. And he made sure – as teachers, friends and colleagues – we were all doing that jump year -to -day.

Nimmi Rafael acclaimed by critics Urmila

After Venpani’s death – it was a void that we all felt very much. But she used to say – “If I die tomorrow, you should rehearsed everyone.” And the Hercules is a challenge that fell on me.

At that time we had three challenges – one, instead of repeating the work of Venpani, create a new artistic route for Adishki’s second and third generation creators. Two, Adishki makes an economically self -sufficient organization. And three, take Edishkat for a broad world from a closed research place where more artists and community feel owned.

Adishki’s popular production from ‘Bali’

With the current management trustees of my colleague and Adishki, Nimmy Rafael-we took the head-on.

Today, when I look back-we have become a self-sufficient institution for the last 9 years. We are able to create widely appreciated plays like Sleepy, Bali, land, Urmila, Herosetc.

This month of April, we are ready for our annual festival – Remembering Venpani -Now a multi-disciplinary art festival in its 11th edition.

When Venpani’s birthday came after his untimely demise, we thought in Adishadi – instead of mourning, we should celebrate his work, vision and him as a human being. The idea of ​​the festival came from here.

When we contacted many artists, he said – don’t worry about money, we will come and perform [at that time we didn’t have any money],

from there on, Remembering Venpani Became one of the most demanded festivals for many artists and audiences.

This is a unique phenomenon – without a normal festival – and mainly focuses on the artist. And we are all expecting that we will continue this focus that can bring an artist in that unique experience.