Kalamandalam Rajasekharan performing Chinta Vishtaya Sita. , Photo Credit: Special Arrangement

As drums beat and cymbals collided, the colorful curtains trembled in the light of the lamps. It was a different kind of Kathakali like any other Kathakali.

One of Kavi Kumaransan’s famous poems, ‘Chinta Vishtaya Sita’, choreographed by Kalamandalam Rajasekharan, was performed as the second solo Kathakali performance of Stree Vesham (female character), the first solo being Asking is salvation.

The 90-minute play was staged by Rajasekharan at the regional theater of the Kerala Sangeetha Nataka Academy, as part of the 59th anniversary celebrations of the Thrissur Kathakali Club and to express gratitude for the gold medal awarded to him as an outstanding artiste Was. The gesture seemed relevant as 2024 is being observed as the 100th death anniversary of the great poet.

Displaying his choreographic talent in the play, Rajasekaran chose 25 stanzas out of 192 that describe Sita’s life. Valmiki Ramayana, from his birth till his death. This play is an exploration of womanhood and sorrow and is also a summary of the Ramayana.

Kalamandalam Rajasekharan performing ‘Chintha Vishthaya Sita’. , Photo Credit: Special Arrangement

display of virtue

The curtain rises to reveal the character’s contemplative posture, conveying his disillusionment with life’s circumstances. His views appeared in numerous anecdotes, giving the artist ample opportunity to display his historical abilities.

The first padam after the stanza beginning with “Oru Nishchamiloninam/Varumoro Dasa Vannapol Pom…”, composed in Anandabhairavi and Chembada tala, symbolizes his depressive mood. In Ilakiyattam, the artist staged her marriage to Rama and her peaceful life in the palace. All the anecdotes revealed through shlokas and padmas were arranged in proper sequence, raga and tala, thereby enhancing the inner message of the lines. There were agile and nimble postures that exemplified the Padma.

Impressive portrayal of Sita

The most special thing about Rajasekharan’s Vesham is his portrayal of female characters. And her portrayal of Sita wearing saffron saree and Rudraksha around her neck especially stood out in this play. The dress suggests that she was in the ashram of sage Valmiki after being abandoned by Rama.

Another notable element during Acid test Khandha, where her activities were in line with the norms of a female character, she took care not to overdo any emotion, be it Veera or Raudra. The libretto, being the poet’s own verses, was easily understandable to the audience.

Kalamandalam Vinod’s vocal support, Kalamandalam Yeswanth’s cooperation was commendable. The rhythm side consisted of Kalamandalam Raja Narayanan (Maddalam) and Kalamandalam Nidhi Krishna (Edakka).

An icon of Sritri Vesham, Rajasekharan is the former principal of Kerala Kalamandalam and a proponent of Thekkan Chitta (Southern style). Well-versed in the intricacies of both theory and technique of dance-drama, Rajasekharan is the author of Attaprakaram of Thekkan Chitta (Acting Manual) published by Kalamandalam in three volumes, is still a curriculum in the institute. His other works include Female Vesham in Kathakali And RajalochanamCompilation of his articles.

Kalamandalam Shailaja, his wife is a former head of the Koodiyattam department, and their son Kalamandalam Vaisakhan is a renowned Kathakali artiste.