padmanabha
14th August 2006, 10:32 PM
[tscii:30f0b39db5]THE battle of Kurukshetra was in progress. The chariot wheel of Karna, the Commander in Chief of the Kauravas had been swallowed by the Earth. Karna seizing the wheels with his arms endeavored to drag it up. The diadem-decked Arjuna took out from his quiver an anjalika and let it off. Karna endued with splendor like the risen sun fell down on the Earth.
Essaying the role of Karna was the popular Kathakali artiste Sadanam Krishnankutti. This artiste in an interview talks about his love for this art form, the selection criteria that existed in his childhood days and why he is not attached to any of the Kathakali organizations in his career spanning five decades.
Born to Pilassery Ravunni Nair and Kizhekkepattu Janaki Amma in 1942, Krishnankutti joined Gandhi Seva Sadanam Palakkad, an institution in his native village Cherpulassery. Having seen many artistes performing at the Seva Sadanam and during the festivals Krishnankutti was attracted towards this art form. His parents never stood against his wishes. “But admission was not easy. Kalamandalam Krishnankutti Nair conducted make up tests, besides the one for the sense of rhythm and music. Only very few students were selected and I was the only veshakkaran” said Krishnankutti.
Sadanam Krishnankutti was trained by great masters like Thekkinkattil Ravunni Nair, Keezhpadam Kumaran Nair, Kottakkal Krishnankutti Nair, Kottakkal Sankaranarayanan Embranthiri and Padmasree Mani Madhava Chakkyar.
“Since training I concentrated more on performances. I was trained in such a way that I could do all veshams-as demanded by the organizers or the audience. Attakathas of Kottayam Thampuran and Irayimmen Thampi are known for the chittas and technical calculations. I had special passion for such stories” he said.
Krishnankutti served Nritha kalamandir Patna, Kerala Kalamandalam, Unnayi Warrier Smaraka Kalanilayam, Gandhi Seva Sadan Palakkad Kathakali School Kollam and Krishnanattom Kalalnilayam Guruvayoor.
“Though I have been associated with these institutions I am not fully attached with any of these. I need more freedom. When you are representing any organization you have to adhere to their discipline and other conditions. I don’t say discipline is wrong. But I like to be on my own.” explained the artiste and continued “The advantage is that I am not strait jacketed. I never specialized in any of the veshams as most artistes do. According to me a Kathakali artiste should be capable of performing all roles. In those days when we go for a performance the story to be enacted will be decided only a few hours in advance. So you have to be well equipped. But today the organizers would ask whether the artiste is willing to enact a particular role. Again the artistes accepted even small and unimportant roles. There was no question of ego.
The play enacted was Karnacharitham authored by K S Viswanathan Nair. It is different from Karnasapadam. Sadanan Krishnankutti Kalamandalam Hyder Ali and Mathur Govindan Kutti and others choreographed the manual. In Mahabharatham, Kunthi reveals to Karnan, the secret of his birth. But in this play, Lord Krishna was entrusted with this task. Duryodanan has no role in this play which unveils five different aspects of Karnan’s character.
Sadanam Krishnankutti has essayed the pivotal roles in Iliad, King Lear, Julius Caesar, and Kanya Bali. He always maintained an open mind towards new attakathas like David Vijayam, Devayanigarvabhangam, Vamana Vijayam and Sathi Sulochana. He is the recipient of many awards and accolades.
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Essaying the role of Karna was the popular Kathakali artiste Sadanam Krishnankutti. This artiste in an interview talks about his love for this art form, the selection criteria that existed in his childhood days and why he is not attached to any of the Kathakali organizations in his career spanning five decades.
Born to Pilassery Ravunni Nair and Kizhekkepattu Janaki Amma in 1942, Krishnankutti joined Gandhi Seva Sadanam Palakkad, an institution in his native village Cherpulassery. Having seen many artistes performing at the Seva Sadanam and during the festivals Krishnankutti was attracted towards this art form. His parents never stood against his wishes. “But admission was not easy. Kalamandalam Krishnankutti Nair conducted make up tests, besides the one for the sense of rhythm and music. Only very few students were selected and I was the only veshakkaran” said Krishnankutti.
Sadanam Krishnankutti was trained by great masters like Thekkinkattil Ravunni Nair, Keezhpadam Kumaran Nair, Kottakkal Krishnankutti Nair, Kottakkal Sankaranarayanan Embranthiri and Padmasree Mani Madhava Chakkyar.
“Since training I concentrated more on performances. I was trained in such a way that I could do all veshams-as demanded by the organizers or the audience. Attakathas of Kottayam Thampuran and Irayimmen Thampi are known for the chittas and technical calculations. I had special passion for such stories” he said.
Krishnankutti served Nritha kalamandir Patna, Kerala Kalamandalam, Unnayi Warrier Smaraka Kalanilayam, Gandhi Seva Sadan Palakkad Kathakali School Kollam and Krishnanattom Kalalnilayam Guruvayoor.
“Though I have been associated with these institutions I am not fully attached with any of these. I need more freedom. When you are representing any organization you have to adhere to their discipline and other conditions. I don’t say discipline is wrong. But I like to be on my own.” explained the artiste and continued “The advantage is that I am not strait jacketed. I never specialized in any of the veshams as most artistes do. According to me a Kathakali artiste should be capable of performing all roles. In those days when we go for a performance the story to be enacted will be decided only a few hours in advance. So you have to be well equipped. But today the organizers would ask whether the artiste is willing to enact a particular role. Again the artistes accepted even small and unimportant roles. There was no question of ego.
The play enacted was Karnacharitham authored by K S Viswanathan Nair. It is different from Karnasapadam. Sadanan Krishnankutti Kalamandalam Hyder Ali and Mathur Govindan Kutti and others choreographed the manual. In Mahabharatham, Kunthi reveals to Karnan, the secret of his birth. But in this play, Lord Krishna was entrusted with this task. Duryodanan has no role in this play which unveils five different aspects of Karnan’s character.
Sadanam Krishnankutti has essayed the pivotal roles in Iliad, King Lear, Julius Caesar, and Kanya Bali. He always maintained an open mind towards new attakathas like David Vijayam, Devayanigarvabhangam, Vamana Vijayam and Sathi Sulochana. He is the recipient of many awards and accolades.
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