Two new directions of Khudiatam’s ambush and teacher Margi Madhu, presented at the annual Nepathya Khudiatam Festival in August, stood out as interesting innovations. He revealed how imaginative touch could make a centuries old art form famous for the structure and strict adherence to the conference.
Nepathya presented a detailed version Mathvilasa pranamasam (Dance of an alcoholic game)-Pallava Raja in Kanchipuram, a 7th century written by Mahendra Vikram, is full of Persia, satire and intelligence of a 7th century-and and AtavyankamFourth act of Bhasa Statue,
Mathwilasam Has been done for centuries, but only as a gift in temples, where only two couplets are used from the original text. A long Ataparakaram or actor manual was first composed by PK Narayanan Nambiar in the 1990s. The current version directed by Madhu expands on it, with some parts left and Malayalam is introduced for dialogues of some major Sanskrit and Prakrit speaking characters.
This plot revolves around the fluffy antics of Sathsoma, a Kapali and an unconventional cubit mendicent, who looks for God through begging, dancing and drinking. His partner Devasoma, with the disadvantage and recovery of his couple’s or skull-boule, runs the story. An unbreakable sattasoma is suspected of stealing his bowl to the Buddhist monk Nagasena, but after a warm exchange, they find out that it was removed by a dog. The recovery of the skull-boule also includes Baburukkalpan, a cubit of medium passage order and a crazy person.
Although the play is more than a thousand years old, its value – intolerance, hypocrisy, and rituals on spiritual remains relevant.
David Shulman, an indologist and Sanskrit scholar, says: “The text is funny and full of vitality. This drama is interesting because it is a symbol of early crystallization of the tradition, and also due to its ideological and philosophical materials and highly dramatic conclusions. Madhu has made us deeply and shown us.”
Nepathya Srihari Chakhar Mathwilasam
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What is this deep meaning Sanskrit scholar, KV Vasudevan, who referred to a paper presented at the festival. He suggested that the argument, however, appears that surface can be interpreted in different ways. For example, Babarukalpan in drama is not a crazy but a free soul. Citing many examples, he said that the choice of words and characters is all a tool of an intelligent king who is the last purpose of being supreme to remind his people, symbolizing by Kapala, should not be lost only while caught in rituals. And he chose Persia as his vehicle so that both the messages can be taken to the intellectuals and the common man.
“Mathwilsam There is a philosophy or a distant and it is naturally related to everyday life. Madhu says that it was not easy to translate into Khudyattam as well as to maintain his humor and intellect.
Sutradhara’s Niravanam or Premypai determined the context of the story using verses from Kalidasa KumarasambhamStarting from Shiva’s penance, Cupid turned from his anger to the ashes, and the murder of demon Taraka was presented by Madhu in an influential single Act, which was running for more than four hours.
The view of Kapali and Devasoma played by Madhu and Indu ji, was memorable for their alcoholic dances and dialogues, which was associated with some serious descriptive acting segments.
The last day of the play was of three young actors of Napathya. Arguments and quick reposes were enthusiastic and pleasant between Kapali (Napathya Yadukrishnan played by Yadukrishnan) and Buddhist monk (played by Napathya Rahul Chakhar in Malayalam). Although the banquet had slipped into the slapstick several times, it was Bambharukalpan (starred by the background Srihari Chakhar), who stole the show in a brief but powerful performance.
Ram (Rahul Chakar) was hoisted by Laxman (Nathgath Yadukrishnan) and Margi Madhu (Bharata) Atavyankam
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Emotional Bharat
The festival was back in the familiar area Ramayana For the second game, presented in three days. Essence of Act 4 of Bhasa UprightWhich has not been done in at least 300 years, Bharat had an emotional encounter with Ram, Lakshman and Sita in the forest. What was here was ‘Paduka Patabhiska’.
In ‘Paduka Pattabhishka’ Atavyankam
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Madhu says an old man Kremdeepika (Performance manual) determines a real temple priest to conduct rituals. To ensure that the ceremony is originally merged with the drama, Madhu invited an amateur Kathakali artist and a professional priest, Hari Neliod, who is to be a priest in the play. It performed the correct phase effect and ritual, which is combined with dramatic, was designed for an unforgettable view.
Published – 09 September, 2025 05:57 pm IST