HYDERABAD: Puppetry, an ancient form of storytelling, recently experienced a revival in Hyderabad thanks to Kannada Natya Ranga. The Sundarayya Kala Nilaya hosted a mesmerising leather puppet show, showcasing the enchanting tale of Adbutha Ramayana.
Adapted by Dr Prakash Garud from Kandagal Hanumantarayaru’s play, Adbutha Ramayana took a unique spin. The narrative kicked off with a comedic exchange between Kiliketa and Bangarakka, adding a twist to the traditional Ramayana. Bangarakka, a female character, sought to break free from the male-dominated storyline, staging her rendition titled Adhbut Ramayana, challenging the established portrayal of Sita.
The plot thickened as Shata khanta Ravana schemed to sow doubt between Rama and Sita. Using a magical illusion of a ten-headed Ravana in their chamber, he aimed to coerce Rama into exiling Sita. Despite Rama’s initial anger at the illusion, Sita bravely accepted her fate, embracing exile in the forest.
Dr Prakash Garud emphasised the technical aspects of the play, involving leather shadow puppetry — a tribal and traditional art form. The adaptation incorporated design modifications, shadow lighting, colours, structural adjustments, and a new script. It aimed to present an alternate version of Adbhuta Ramayana, showcasing the diversity of Ramayana’s in India. The performance incorporated various lighting techniques and condensed the original 4-hour play into a 70-minute spectacle.
In the forest, Sita encountered a magical deer, recognised its deceitful nature from Sampurna Ramayana, and courageously eliminated it. Vishwamitra lauded her resilience, but soon, Shata khanta Ravana reappeared, kidnapping Indra’s wife, Indrani. Sita, embodying Kali, intervened, saving Indrani and thwarting Shata khanta Ravana’s plans. Disguised as a sage, he attempted to seduce Sita but was thwarted by Vishwamitra and Valmiki, leading to Shata khanta Ravana abandoning his scheme.
Reflecting on the play’s creation, Dr Prakash Garud mentioned the extensive efforts spanning 7-8 months for production design, story development, dialogues, and technical rehearsals, culminating in the final production.
Meanwhile, in Ayodhya, Rama sought guidance from Valmiki to reunite with Sita. Valmiki advised Rama to seek Hanuman’s help, providing symbols of Indrani for protection. Accompanied by Hanuman, Rama confronted Shata khanta Ravana, leading to a fierce battle where Rama and Hanuman fell unconscious. Simultaneously, the story explored Kumbaka’s transformation due to his love for Devakanye, Indrani’s assistant.
Vishwamitra suggested that only Sita could defeat Shata khanta Ravana. Together, they prayed for her intervention, and Sita emerged as Kali, defeating Shata kanta Ravana. Revived by Brahma’s nectar, Rama prayed for Sita’s return to her normal form, concluding the story with her prayers.
The show, presented by Puppet House, Dharwad, directed by Rajani Garud with music by Raghava Kammar, welcomed V.C. Sajjanar, IPS, CMD, TSRTC, as the chief guest. He commended the event and praised the book “Full Many a Gem” by K Niranjan Rao, calling it an encyclopedia of cultural heritage and acknowledging the Garud’s significant contribution to reviving this dying art form.