KOCHI: Everything he does in the theatre circuit comes with a hallmark of class. Kavalam Narayana Panicker, the name that resonates in the realms of Indian theatre for his distinct style and techniques, has been conquering heights ever since he entered into the formidable world of arts. Many starry-eyed youngsters, who huddled beneath his wings, received immense exposure and experience at his ‘Kalari’, where he ignited creative sparks in them. Many of them later went on to become masters in their own craft. Shiva Mohan Thampi, a known name in the visual media is one such student. Thampi, who had spent around 15 of his younger years at Kavalam’s kalari, is exploring the rhythmic world of this theatre doyen in Spatial Rhythm. This documentary revolves around the intricate world of Kavalam and his theatre.
“I started my creative journey as a musician at Kavalam’s theatre group. I was their percussionist. But Kavalam soon saw something in me and started giving me more assignments other than music. Later, I shifted my gears to visual media, where I did literature adaptations as well as TV serials. In Spatial Rhythm, I am answering the age-old question, ‘what is the relevance of rhythm in theatre’,” says Shiva Mohan Thampi.
For the uninitiated, Kavalam does not conform to the norms, instead he brings a refreshing twist to his plays by interweaving folk arts such as chakyarkoothu, kathakali and ‘kalari’ (Martial arts from Kerala). It is the cadence and rhythm emitting from his plays - belonging to Kavalam and Kavalam alone - that give them a character of their own. The beats of ‘chenda’ or ‘edakka’ would resonate through the four walls of theatre and stay on your mind for years to come. And it is that flawless usage of time, space and rhythm that is being explored in Spatial Rhythm.
The screen comes alive when Karna jumps out from nowhere with his cries of pleas. And the spellbinding world of Kavalam unravels in all its theatrical glory. Kavalam has taken Bhasa’s ‘Karnabharam’ and given his own interesting interpretations to Karna’s character. The audience drenches in a palpable agony, whenever Karna reveals his vulnerability. This illegitimate son of Kunthi and Surya (Mahabharatha), is captured in his weakest of moments in this play. Likewise, Thampi takes myriad scenes from Kavalam’s plays and blends them with mundane subjects. Nedumudi Venu, a Kavalam’s find, comes beating his ‘chenda’ violently, dancing and singing with his group of followers on another scene.
“When I went exploring the profound rhythms used by Kavalam, I found that all of them are closely related to the sounds we hear on daily basis,” says Thampi. For Thampi this 45-minute-long documentary is also his small contribution to the theatre world as it will be a record for those who want to go back in time to study ‘Kavalam’.
Kavalam often comes onscreen with ample information about his craft. The training he gives to his students and the use of space and time in theatre are shown with perfection in the film. Aptly lending a brownish-tint to his frames Siddharth pans his camera towards the vibrant world of Kavalam, while dwelling deep into the intricacies of music in theatre. Shiva Mohan Thampi, who started off his career as a musician composed the music for the film. Jithin Thampi, with his silvery voice gives the voice-over. Roy P Antony produced the film.
“I have taken the movie in English because I want it to go to places. Kavalam also had spoken in English but it was not done on purpose. He prefers to talk in English, when he is talking about something close to his heart. He drifts off automatically into English hence it was not a conscious effort. But I didn’t want the movie to not to get the recognition it deserves due to language barriers,” says Thampi.
Spatial Rhythm was screened at a function held in Vyloppilly Samskrithi Bhavan. Kerala Governor Sheila Dixit inaugurated the function.