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Play Review: Hayavadana

A face/off set in the world of mythology and folklore

By Zafar Anjum

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Conceptualised by: Monisha Charan and Dr Siri Rama
Executive producer & Director: Monisha Charan
Artistic director and choreographer: Dr Siri Rama

 

Girish Karnad’s play Hayavadana is considered one of the landmark works in the annals of Indian theatre. The play brings about the interplay of questions of love, identity and sexuality through a panoply of characters set in a world of mythology and folklore.

Recently, Izaara Productions brought this famous play alive on stage in Singapore under the skilful direction of Monisha Charan.

Hayavadana

The play’s director Monisha Charan (right) with the High Commissioner of India in Singapore, Mr. Jawed Ashraf (Centre) and Mr. Abhay Charan (left).

The play began with a brief narration on the play’s antecedents: one of the influences behind the play was Thomas Mann’s The Transposed Heads, which in turn was borrowed from a Kathasaritasagara story. In keeping with the spirit of the play, Monisha Charan paid a rich tribute to the myths and legends of the Hindu religion.

The plot revolves around two parallel stories, both involving questions of love and identity (the heart and the head). In the main track, a well-built kshatriya, Kapila (Avtar Bhullar), finds that his best friend Devadatta (Justin Lee) has madly fallen in love with Padmini (Dr. Siri Rama). Although Kapila harbours an attraction for Padmini, his love and loyalty stands above all; he arranges the match for Devadatta and Padmini and they get married.

The director has made sure that the two actors present a contrast in their physicality and demeanour: Kapila is a Kshatriya with a muscular and manly appearance; Devadatta is a learned Brahmin and poet with a weak physique. The playwright cleverly poses the question to the audience: what if their physicalities are switched? What if the weak Brahmin poet becomes muscular and the sinewy warrior takes the body of the weak poet? Are they happy in their new avatars? What happens to Padmini’s love in that case?

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Subtly, the play comments on the rigidity of the caste system which imposes a hierarchy on people. Along with the main track, the sub-plot features the Hayavadana (the horse-man), played with gusto by De Zhong Chia, who is unhappy because he feels incomplete with the face of a horse and the body of a man; yet, he is the object of affection of a beautiful lady, played by Renita Kapoor. I wish this track had more layers to it, as we find in the main track.

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It was or it was not: Femininity in Arabic folktales

The folktales in Pearls on a Branch, oral survivors from a preliterate era, resemble a quilt made with the fabrics of well-loved clothes. Just as patches of cloth in a quilt are arranged in different combinations to form a design, traditional folk motifs appear and reappear in a variety of settings and plots to shape the stories. One prince falls in love with the grocer’s daughter next door, another can’t take his eyes off the Bedouin girl he sees on his way to the hunt, all to the horror of the royal mothers. Here a golden anklet, and there a voice heard out of an open window, inspire obsessive love for their unknown owners. A songbird with green feathers reveals one crime and a speaking nightingale another. In the stories, love conquers all, but inevitably there are obstacles on the way to the happy ending. These are tales told by women to women so, not surprisingly, the main characters often are young women with remarkable courage, wit, and endurance. Whatever their unfortunate circumstances at the beginning, whether poverty or oppression, they are the heroines in the end.

The thirty texts gathered in Pearls on a Branch have been chosen from a hundred tales, recorded and transcribed by Najla Jraissaty Khoury and published in Beirut in 2014. Captured on tape, these are verbatim renderings of the storytellers speaking. The translation, like the transcriptions, adheres word for word to the Arabic original. The aim is to allow the English reader to listen in as the storytellers, older women living in Lebanon in the last quarter of the twentieth century, pass on the stories they had heard in childhood. Only in the verses that ornament many of the stories does the English sometimes need a few added words to be comprehensible.

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