When the streets grow to be levels for artistes

It was fairly a sight when characters from George Dandin ou le mari confondu (George Dandin or The Thwarted Husband), the French play by Molière, appeared on stage within the vibrant costumes in traditional therukoothu model. Naturally, the artistes spoke in Tamil, and launched full-throatedly into conventional songs. This daring adaptation of the play into therukoothu by Karunsuzhi V. Arumugam, former dean of the Department of Performing Arts at Pondicherry University, and who runs Thalaikkol Theatre Group, marked a major second within the evolution of the folks artwork kind. It demonstrated how therukoothu could possibly be reworked to go well with trendy storytelling.

“We first carried out the play in the course of the golden jubilee celebrations of India’s Independence. It was tailored into 14 Indian languages and carried out in conventional artwork types distinctive to every State, supported by Alliance Française,” mentioned Mr. Arumugam, nephew of the famend therukoothu artiste Purisai Kannappa Thampiran. It was re-enacted in March this 12 months.

Traditionally, therukoothu performances revolve round tales from the Ramayana and Mahabharata. There are two colleges — one from the previous South Arcot district and one other from the previous North Arcot district — each throughout the erstwhile Madras Presidency. Kannappa Thampiran, a local of Purisai, a village close to Kancheepuram, represented the North Arcot model. It continues to be carried out for 18 days in and across the districts of Chennai in the course of the festivals of Draupadi Amman temples. Keesagan Vatham, Dravupadi Vasthirapaharanam, Arjunan Tapsu, Karna Motcham, Virata Paruvam, Anjanavasam, and Pathinettam Por are among the topics carried out throughout these festivals.

However, the institution of Koothu-P-Pattarai, a contemporary theatre group, by the late Na. Muthusamy started to mix classical parts of therukoothu with up to date narratives. Mr. Arumugam, who collaborated carefully with Muthusamy, Prof. Ramanujam, and Veerasamy, skilled over 20 batches of scholars in therukoothu below the steering of Kannappa Thampiran.

“I directed the play Sainanthari (Nirbhayavin Kathai Alla), an adaptation of Keesagan Vatham, and the message rapidly reached the viewers. Sainanthari is one other identify for Draupadi. The dialogue — at the very least Beeman saved Draupadi — conveyed the Nirbhaya case,” mentioned Mr. Arumugam, who offered complete coaching in all elements of therukoothu together with music, scriptwriting, and efficiency methods to his college students.

Significantly, what was as soon as an completely male-dominated artwork kind started to open its doorways to ladies by way of the college programme, additional marking the evolution of therukoothu in a contemporary context. As at all times in Tamil Nadu, cinema celebrated the artwork kind, and democratised it. Long in the past, the Sivaji Ganesan-starrer Navarathiri grew to become a pioneer by permitting the heroine Savithri to carry out the artwork on display. Avatharam, with Nasser and Revathi within the lead roles, showcased the facility of the narrative methods of therukoothu.

“Therukoothu as a tool prepares an actor mentally and bodily for the position they’re taking over. In the previous, Boys’ Companies remained a wonderful coaching floor for actors. They skilled them in each side of appearing, together with music and dance. Now, it’s therukoothu which fulfils that position,” mentioned Velu Saravanan, one of many first batch of scholars below Mr. Arumugam.

Mr. Saravanan, who runs Aazhi, a kids’s theatre group, mentioned though Kannappa Thampiran had reservations about permitting ladies to carry out, author Indira Parthasarathy, who headed the division, persuaded him to coach them in therukoothu.