An Evening at Kalashetra Manipur
(A taste of South Indian Curry)

Rajmani Ayekpam *

On the last 13th April, a theatrical programme was organized at the Studio Theatre of Kalakshetra Manipur at Langol Laimani, Lamphel. It was a Meitei New Year's (Sajibu Nongma Panba Cheiraoba)'s treat. The main programme of the day was a solo performance entitled, 'Prelude' presented by Our Theatre of Bangalore's south Indian actor Vivek Vijaykumaran. Then, Swati Das's dramatic recitation followed. The last performance of the day was Koodiyattam demonstration by Vivek Vijayakumarn.

The crowd of the day was a small one but enthusiastic and sensitive. Almost all the enthusiastic theatre practioners and theatre lovers of the state were present there. The theatrical performance was part of Our Theatre, Bangalore's study programme at Kalashetra Imphal and an event of exhibition of their latest production. Many consider any theatrical solo performance in theatre, either by male or female, is the ultimate test for any actor.

In Manipur, a few female actors attempted solo performances while their male counterparts have never dare to venture on this line so far. To see a solo performance by a male actor is an opportunity to theatre lovers of this state. The solo performance entitled, 'Prelude' was directed and written by Chanakya Vyas of Our Theatre, Bangalore. It was presented against the backdrop of 90's of the last century to search a true identity of communal hatred in India. Chanakya Vyas is a theatre practioner based in Bangalore and has been involved in theatre as an actor, playwright and director. He also works as a drama teacher and conducts workshops for children. He has been awarded the first runner-up at the Sultan Padamsee Playwriting Awards-2011 and has also been honoured with Charles Wallace India Trust Award-2013-14.

Prelude is an attempt to picture true identity of communal hatred among majority people of Hindu and Muslim which was a serious problem in India even threatening integrity of the country. It was represented by one man's experience. Story of Prelude began with a man's journey from childhood to adulthood and the changing relationship with his mother. When he is exposed to contemporary world of his environment, he encountered many social realities. Then, he asked himself what was the ultimate solution of communal violence. To end with that, our conscience should not lower a mere rumor and a mere incident. The play tries to reflect upon ideas of social conditioning, religious beliefs and the hypocrisy that exists in today's world. Shri L. Ibochouba of Manipur supported this solo play as a light designer.

Vivek Vijayakumaran acted powerfully in this play as a soloist. His vigorous body movement and energetic dialogue delivery can sustain attention of the audience till end of the play. One hour is a long period for a solo performance. He used both mimicry and popular acting. However, he can't escape from popular Bollywood style of acting. We can't see any style of acting from Kodiyattam in this play which he pursues seriously. Vijayakumaran, trained under the guidance of Shri Sooraj Nambiar and Shri Venu G., it was expected to see some style of Koodiyattam in his solo performance other than his Koodiyattam demonstration. Nonetheless, the solo performance of Vivek Vijayakumaran was commendable and worth to see.

Swatu Das's dramatic recitation was the 2nd performance of the day. Her presentation was the mixing of monologue and dramatic solo performance. She used also powerful dialogue delivery and energetic body movements like her predecessor. But the theme of her poetry tries to highlight innermost psychological picture of every young women who fantasize that beauty is the most precious thing in life. The valued performance of the day was Koodiyattam demonstration by Vivek Vijayakumaran. Koodiyattam is the only Sanskrit theatre form which survive till date. This theatrical form which is practiced in the state of Kerala is believed to be 2,000 years old. It was officially recognized by UNESCO as Masterpiece of the Oral and Intangible Heritage of Humanity. Indian theatre is proud of its long heritage of Sanskrit drama. Koodiyattam form of traditionally Sanskrit theatre added to its pride.

Vivek Vijayakumaran being a serious theatre worker, is a student of Adil Hussain and trained with Mahesh Dattani at AdiShakti Theatre Arts Laboratory. He learnt Koodiyattam form under the guidance of Shri Sooraj Nambiar and Shri Venu G. Masterclass – 2012. Now, he is undergoing training under the guidance of Shri Kanhailal at Kalashetra Manipur and has started a project to study character of Bhima of Mahabharata.

His Koodiyattam demonstration was worth seeing. In spite of his earlier one hour solo performance, he showed no sign of tiredness in his demonstration and beautifully maintained all the dos and don'ts of Koodiyattam. His energetic visualization of different kinds of geatures of animals like snake, elephant and others make a strong impression to mixed audience of theatre practioners, scholars, theatre enthusiasts and critics. Classical dance like Bharatnyattam and Kathakali were the source of Koodiyattam.

After the day's programme, I, myself, as a theatre enthusiast of this state, wondered why we shouldn't develop our acting style or theatrical form from our indigenous performing art forms. We are one of the riches communities in India in terms of culture and performing arts. Besides, we have good number of theatre practioners. If so, it would be the best goal to achieve.