INTERVIEW: ‘Artist is always a slave of audience’, says Kathakali maestro Kalamandalam Gopi Asan
Kalamandalam Gopi Asan epitomises the perfect blend of dancing prowess and elegant facial expressions. In a wide-ranging interview with TNIE, the Kathakali maestro talks about his initial days at Kalamandalam, the nuances of the classical dance form, his vision on how to make it acceptable to the new generation, the current condition in Kalamandalam, and much more.
Let’s begin from the period before you joined Kalamandalam…
I started learning Ottan Thullal at a kalari run by a famous Mana (Brahmin home) near my house. I learnt Thullal for around two years and performed at a few nearby temples. Later my Guru and father took me to Koodalloor Mana where I was inducted into the Kathakali class. After nearly a year, Kalamandalam Neelakandan Nambeesan helped me in getting admission at Kalamandalam. Poet Vallathol Narayana Menon gave me admission straight away in 1951.
Have heard that you once wanted to join the Army...
That was when I was learning Kathakali at Koodalloor Mana. The teacher used to punish us severely. I was only 11 years old. As it was unbearable, I ran away and wanted to join the Army. It was then that I experienced the kind of (communal)
harmony that existed in the state. There was a river to cross. I went to a Muslim man who was running a tea shop and asked how to cross the river. He took me to the shop and asked where I wanted to go. I said I wanted to join the Army. He laughed and said children would not get admission there. I was hungry and he gave me food. He also entrusted me to a person to take me safely back to Koodalloor Mana.
It is said there were two female students at the Mana’s kalari. Was it common for girls to learn Kathakali then?
There were two women — Sarojini and Narayanikutty — in my batch. But that was not uncommon. Women used to perform Kathakali at that time.
Were there women students at Kalamandalam then?
Girls were not given admission to Kalamandalam at that time. I changed this and admitted girls for the Kathakali course. As a member of the executive board, I suggested that girls should be admitted which was supported by other members. Now there is a women’s troupe and they are performing well.
Who were your Gurus?
Ramankutty Asan and Krishnan Kutty Warrier Asan taught me in the initial days. Later, Krishnankutty Warrier was replaced by Padmanabhan Nair Asan. Under his tutelage, I could hone my skills.
Ramankutty Nair Asan once said you developed your style through self-training rather than from Kalamandalam lessons. How did you do that?
It’s better not to ask how. I don’t have an answer to that. Indeed, what I have been doing was not just what my teachers taught. I made sincere attempts to comprehend the characters and perform. My gurus say I perform at a higher level than they taught me. As far as the dance is concerned, I don’t have to perform more than they imparted because they taught me everything (laughs).
In ‘Karna Sapatham’, your depiction of Karna’s emotional conflicts was praised by the likes of poet ONV.
It’s quite obvious as the play unravels the emotional conflict of Karna. Even before breastfeeding him, Kunthi was forced to abandon him. And, as a person who lost mother during childhood, I know the pain of growing up without a mother. So, my emotional feelings are reflected in my performance.
Which is that one character that has touched you deeply?
Nalan of Nalacharitham, of course. As you know, the play has four episodes. On the first day, Nalan is a passionate lover, and the second day depicts the days immediately after the marriage and then the story turns emotional as the couple are separated. On the third day, Nalan is wandering through the forests looking for his wife Damayanthi, wailing over his fate. On the fourth day, Nalan is grief-stricken after knowing about Damayanthi’s marriage. The story ends with the reunion of the lovers.
It is said you had a rare rapport with Kalamandalam Hyderali and his music helped enhance your performance?
It is not just me. Hyderali was an ingenious musician and he had an astounding knowledge of the nuances of the art. The Kathakali actor expresses the emotions through hand gestures and it is the music that supplements the performance. All stalwarts of the art, including Kalamandalam Krishnan Nair, had great appreciation for Hyderali’s music.
Despite his talents, were there instances when Hyderali had to render the song standing outside the temple compound due to restrictions on entry of non-Hindus?
I recall one such instance, though I can’t recall the name of the temple. It was somewhere in Kollam district. As they had restrictions, the organisers demolished a part of the compound wall. The stage was extended in such a way that the singer stood outside the compound and the actors and the accompaniments were inside the compound. I believe there were a few other occasions where he had to sing outside the temple.
It was Kottakkal Sivaraman who had performed the female characters opposite to you most of the time. How was the chemistry between you two?
Whenever we stepped onto the stage, we had an innate understanding of each other and could perform reading the minds of each other. If a co-artist cannot comprehend your spontaneity, it becomes challenging.
Till 1996, popular plays dominated the stage. After 1996, there was a shift towards a more structured and systematic approach. And attakkathas and even characters relying more on chitta (the guidelines) started coming to the fore…
In Kottayam Kathakal, performances are more structured and documented, requiring actors to adhere closely to the “chittas”. This style demands adherence to tradition. On the other hand, in other styles, actors have more flexibility to enhance their performance, delve deeper into the character, and add improvisations, and nuances. It’s like providing the necessary protein to kids to enrich them.
The previous generation of Kathakali enthusiasts had a love for the Pacha vesham (noble characters), but the new generation of enthusiasts like the portrayal of Kathi and Thadi (evil characters). How do you see this change?
I don’t agree with the opinion. Kathi and Thadi veshams have been integral to Kathakali since ancient times. Some artists give more prominence to Kathi veshams, adapting to contemporary tastes and audience expectations. However, it would be inaccurate to label this as a novel trend. Kathakali has always been subject to variations in emphasis and interpretation over time.
It is noted that artists are trying to make Kathakali more dramatic and interactive, extending the play to the midst of the audience.
Yes, some plays give the freedom to utilise the aisle and these make the play more gripping. It has been the tradition. Some may question whether it’s necessary to bring the characters from behind the audience, but I believe it would not achieve the desired effect and perfection otherwise.
There’s been a trend of presenting Kathakali in a capsule form, by handpicking some portions from various plays. What is your opinion?
This approach is often adopted while performing for audiences in foreign countries. It affords a better experience for audiences who may not have the time to engage with a full-length performance. This flexibility allows for tailoring performances to suit different settings and audience preferences.
You have performed in many foreign countries. How do you overcome the language and cultural barrier?
We typically offer a synopsis before the performance, allowing them to grasp the storyline of Puranas. There were instances when we presented performances that extended beyond 12 hours in France. We had a packed audience and hardly any spectator left the hall before the conclusion. If they did not understand the story how could they sit for so long? Among foreign audiences, I have always felt that the French showed the most interest.
It is said a pregnant woman fainted while watching your performance as Roudra Bheeman of Duryodhana Vadham in France.
Yes, I witnessed her collapsing while performing Bheema killing Dussasana. She was immediately rushed to the hospital and I heard she delivered before reaching the hospital. We have encountered many such incidents in foreign countries. The foreigners may not be accustomed to such acts. Perhaps witnessing such an intense performance was a new experience for her.
You have acted in a few movies. What is the difference between acting in Kathakali and cinema?
In Kathakali, the focus is on hand gestures, and it is silent expression, devoid of speech. It’s about delving into the essence of a character through the nuances of acting. In Kathakali you have to portray the intricacies of the character through expressions, while in movies it is more natural.
How is your relationship with Mohanlal?
We are good friends. He greets me on my birthday and I also extend my greetings on his birthday.
For Vanaprastham, it is said he made earnest efforts to learn the nuances of art as well. How do you analyse his efforts?
Mohanlal spent around a month learning Kathakali. He took a break from shooting for a month and practised for the role. He elevated the performance through dedication. One should agree that it is not possible for everyone.
Many believe you epitomise Mahakavi Vallathol’s dream of a perfect Kathakali artist — a blend of Pattikamthodi Ravunni Menon’s body (dance prowess) and Guru Kunchu Kurup’s face (expressions)…
I won’t say that. But, I too have heard such comparisons, and it’s quite gratifying. Perhaps there’s truth to it, which I attribute to my diligent training.
You emerged as a leading artist at a time when legends like Kalamandalam Krishnan Nair were reigning. How did you carve out a niche for yourself?
It’s undoubtedly a result of divine blessings and the guidance of my teachers. I had that great desire to survive competing with the luminaries.
You have been at Kalamandalam as a student and a teacher for around three decades. There were complaints about the rigorous teaching process at Kalamandalam which follows the Gurukula style of learning. How does that shape the character of an artist?
When I joined Kalamandalam, we used to wake up at 2.30am and the practice session started at 3am. Students who don’t have the patience to endure the rigour would drop out. It is not the fear of punishment, but the stringent training sessions that shape the artist.
Is there a shortage of students for Kathakali at Kalamandalam?
Yes, there is a shortage of students for Kathakali vesham, especially boys. Many girls are joining the course now. But the shortage of male students is causing concern. Hardly one or two male students join the Kathakali course in a year.
Mallika Sarabhai has brought about some changes in Kalamandalam. Did she seek your opinion?
She has not contacted me and I also didn’t feel the necessity to contact her. I feel the problems at Kalamandalam are beyond her limits to solve. She is a great dancer and I admire her. The main issue at Kalamandalam is the shortage of students joining the courses, especially Kathakali. There is delay in distribution of salary.
She has brought some changes in the timings. Is it a good initiative?
Kalamandalam had restrictions on girls venturing out after 6pm. These restrictions were to ensure their safety. The new generation cannot accept the practices at Kalamandalam. Earlier the students had to wake up at 3am and now they have made it 5am. I don’t blame them as children in our houses wake up at 9am on holidays (laughs).
Do you think politicians are making decisions at Kalamandalam?
How can we say there is no political involvement? If someone says there is no political intervention, he would be a fool. We cannot eradicate politics from there, at least for now.
What would happen if Kalamandalam becomes a university in this scenario?
The teachers there are very skilled and the students are enthusiastic. The only concern is the shortage of students. The government and authorities should intervene to solve the problem. There will not be any change in courses even if it is upgraded to a university. Also, we cannot make Kalamandalam a university similar to other universities as the system of learning is different.
What transpires in your mind when you don the role of Roudra Bheeman? Have there been instances when the character takes the back seat and Kalamadalam Gopi comes to the fore?
(Laughs) If Kalamandalam Gopi takes over, then Roudra Bheeman will become Gopi (points his finger to the forehead). The character won’t have any resemblance to Roudra Bheeman. Also, if I remain Kalamandalam Gopi and present the character of Shakuntala, then it would really turn into a farce. So when I put on the makeup for a character, I turn into it.
Is Kalamandalam Gopi a prisoner of his image? Has it ever occurred to you that you are unable to present a character of your choice?
No. An artist is always a slave of the audience. I am not talking about the equation between a king and a slave. An artist has the responsibility to perform according to the wishes of the audience. The artist doesn’t have the right to say no to them. An artist needs to have the bent of mind to cater to the audience’s needs.
It is said that in the past when Kudamaloor Karunakaran Nair Asan presented Damayanti, a foreigner got so enamoured that he wrote a love letter to him. There would have been many female fans for your Nalan.
No, I don’t think so. Even if there was attraction, once I remove my makeup it would vanish (laughs). No such thing has ever happened, especially expression of love. Well, I have received a lot of love from my audience. There have been fans like Gopikas around Krishna.
There is a decline in quality art enthusiasts. One reason is that the number of people who can understand art has reduced.
I feel that we should make some earnest effort to create awareness about Kathakali. There should be efforts to give an introduction before the performance. Place screens on both sides of the stage to make it more engaging. Online classes have helped create a good audience. Kathakali requires a stage manager who can make arrangements, including light and sound, to complement the performance.
Have you adopted nuances of other art forms like Koodiyattam, Odissi and Kathak?
There has been no adaptation from Koodiyattam. I’ve witnessed Odissi and Kathak performances during my travels abroad. I don’t have significant engagement with other art forms. Performers of other art forms say that there is no other art form like Kathakali.
At one particular phase of your career you had developed an affinity to drinking. How did you overcome that?
Well, it was due to my strong will. For the past 23 years, I have stayed clear of every bad habit. In 2002 or was it 2001, I had gone to Amrita Hospital for a treatment. They asked me when all did I drink. I said I don’t drink while sleeping. I had the same answer regarding smoking and chewing tobacco. They told me it was time to stop all that. Not for my sake, but for the sake of the connoisseurs of Kathakali. It touched me deep and on that day, I decided to quit everything.
During that period there were fans who used to take pride in giving treats to artists. Had this affected the performance of the artists?
I also had several such fans. We could not stop them and I became an addict. It has happened and I have no hesitation to admit that. But it did not affect my performance on stage. But there were instances when I had to skip performances. I could not perform in Kollam once after attending a party in Kottayam.
It is said artists are not getting their worth from society. Do you agree?
There are many such artists who are struggling financially. They receive a nominal amount as pension and there is no welfare board. The state government should extend help to those facing health issues. Similarly, institutions like Kalamandalam should extend a helping hand.
Which is the vesham that you love to perform?
Have you heard anyone asking a Kathakali artist to perform the role he likes? The organisers ask for the vesham they want. I do the vesham which they ask. I never say to anyone that I will do only certain veshams. If you ask me my favourite, I don’t know. All veshams are the same for me. If people say that they want ‘pacha vesham’, I do that. If they ask for another, I do that.