The Mahabharata and the Ramayana are so deeply embedded in standard creativeness that they proceed to be a supply of inspiration for artistic minds. Premiered just lately, Draupadi by Komal Theatres, directed by Dharini Komal, is yet another addition to the lengthy record. Because the title suggests, this Tamil play portrays the Pandava queen as a logo of girls energy.
The play begins with Aravaan Koothu festivities at a Draupadi Amman temple in Velachery. The rituals culminate in narabali (beheading) of a life-size effigy. What on the outset gave the impression to be a play based mostly on a social theme changed into a mythological manufacturing on the traces of Tamil historic theatre.
Properly-researched script
“It was a long-held dream of mine to do a play based mostly on Bharati’s Panchali Sabatham. Throughout the pandemic, I did an intensive research of this standard work and likewise learn varied texts on the Mahabharata,” says Dharini. “I needed the youthful era to grasp Draupadi. How she was deceived by circumstances to be the spouse of the 5 Pandavas, being caught within the energy wrestle and ego clashes of males, and her will and braveness to struggle and set up Dharma.”
A scene from the Tamil play Draupadi.
| Photograph Credit score: Particular Association
Starting with the emergence of Draupadi from the fireplace (well-crafted stage setting ) within the yagam carried out by her father, king Drupada, to her swayamvar and marriage to the Pandavas, the sport of cube and her vow to punish the Kauravas, the play travels alongside the storyline acquainted to most viewers.
The primary half of the script has been written in classical Tamil by poet Satish Kumar and the second half has been tailored from Panchali Sabatham. Musical rating is by Rajkumar Bharati.
A play of this nature must be backed by a powerful group of technicians and artistes. The solid of the play handle to maintain the viewers engrossed with their efficiency, impeccably delivering the dialogues.
Taking part in the function of Draupadi, Krithika Shurajit, a proficient dancer makes use of her experience in abhinaya to painting each emotion with conviction. She sustains the momentum all through together with her highly effective appearing, readability of diction and expressions.
A shock aspect is the function of Krishna being enacted by dancer Balagurunathan, in his first try at appearing. With a twitch of his eyebrows, a mischievous smile, a dancer-ly gait, a dignified stance and mild dialogue supply, he captivates the viewers together with his efficiency.
Duryodhana the spiteful, villainous Kaurava, performed by Vignesh Chellapan, is greeted with thunderous applause in each scene for his highly effective dialogue supply. However at some factors crudity mars its affect. Kannan Rudhrapathi as Shakuni impressed together with his physique language and applicable expressions.
Making a mark
Vivek Raju as Dushasana makes a mark together with his appearing expertise. Anand Sahasranamam, Kishore Kumar, Siddharth, Sri Krishnan and Balakumar because the Pandavas, and Anand Ram as Karna are equally spectacular regardless of the restricted scope of their roles; the Kauravas are the dominant gamers right here.
The background LED setting design by Kathir, Thyagu and Mritunjay provides depth and dimension to the scenes. It’s a delight to see a wonderfully mounted display screen.
Particular results and props (Mallikraj and Thangapandian) and music execution by Vishwajay improve the viewing expertise. The brilliant costumes and vibrant jewelry are designed to enchantment to standard style. A extra refined color palette would make it look extra aesthetic .
Whereas revisiting epics, as an alternative of following the oft-trodden path of a fancy dress drama, it might be good if playwrights could make their interpretations socially related, together with contemporary views in design and presentation.