KOCHI: Identity crisis throws one out of gear at one time or the other. Even mythologies abound on it to show that human nature is moulded by the way one passes through it. From time immemorial mankind experiences the same inner turmoil despite the changes in the quality of life around.
Girish Karnad’s ‘Hayavadana’ plays on this aspect and lays bare each shred of the human psyche. Which is powerful — the head or the body? The question lingers. Setting myths and ancient tales against a modern backdrop, he takes a dig at different human traits in a humorous vein. That language is universal for man’s inner conflicts is seen as the play unfurls in Malayalam under the direction of Vijayakumar Prabhakaran. The myth of Hayavadana is introduced in a modern vein to the audience belonging to the SMS, email and Facebook era. Yet Hayavadana is running helter skelter to get rid of his horse-like head born out of the whims and fancies of his
mother.
The play opens with Devadatta and Kapila toning their body. In another corner women are decking themselves up against the backdrop of music that augments the scene. Devadatta, the scholar, enriches his mind while Kapila, the warrior, strengthens his physique. Devadatta is enamoured by Padmini’s beauty and grace and wishes to possess her. Kapila, disturbed by Devadatta’s distraction, sets out to fulfil his friend’s wishes. From the dialogue, one garners that Padmini is not exactly suited for the soft-natured Devadatta. However they marry and lead a blissful life but the union leaves much to be desired. Padmini takes a strange liking to Kapila who reciprocates her feelings which instills jealousy in Devadatta.
The trio set out on a journey to the city and on the way, Kapila and Padmini can’t help expressing their true feelings for each other and they reach a spot where a Rudra and Kali temples beckon them.
Devadatta, who is sick and tired of the happenings and his own word that he would sacrifice himself, keeps his word and beheads himself. Kapila, who goes in search of Devadatta, does the same leaving Padmini in distress.
The experiences and the conflicts that the three go through are unique to themselves and can be understood by them alone.
No other person can understand another, say the chorus to show that each one has to suffer the consequence of their thoughts and action. The chorus throws light on life’s predicaments and truths. Even Kali is depicted in modern light and is more human that divine as she says that Devadatta beheaded himself for reasons of his own. She intervenes when the pregnant Padmini tries to end her life. She tells Padmini to place the heads on the bodies so as to bring them back to life.
Padmini places the head of Devadatta on Kapila’s body and vice-versa. The conflict between the head and body has both claiming a right over Padmini. Finally the head wins for the ‘swamini’ says the head is superior and Padmini leaves with Devadatta.
Dejected, Kapila with Devadatta’s body, walks into exile in the forest. For some time, Devadatta tones up his body and wins in all physical contests but slowly, he loses interest in them. Meanwhile, Padmini’s son is born. She is not happy with the way he’s reared. Her mind wanders to Kapila and her body follows suit. Kapila’s head inspires his body to strengthen just as Devadatta’s head makes his muscular body softer. The conflicts that arise when Devadatta comes in search of Padmini in the forest knowing well that she would be with Kapila create further problems. None can solve another’s problem; they can only offer comfort, say the chorus.
Finally the clash between Kapila and Devadatta ends in death and Padmini too ends her life, repeating the words ‘Only God knows what’s going on,’ leaving her son in an identity crisis just like Hayavadana.
The concept, treatment, props and chorus lent charm to the play presented by Magic Theatre, especially the shadow play that connected the past with the present.
surekha@expressbuzz.com