padmanabha
3rd November 2006, 10:31 PM
[tscii:be97cb8dd7]In the Kerala context there is an element of emptiness or nothingness and helpless in the minds of our youngness in spite of high education. This kind of feeling if traced back would lead you to Arjuna of Mahabharata. It is my dream project on which I am currently working. it could be either a solo or a group show a stylized production or a new innovation” said Dr Raja Varier a popular theatre personality who was recently awarded PhD in fine arts by the MG University for his research work on Kerala Theater performance a study with special reference to Kavalam’s Theatre.
According to him we all have an actor in us. The best example is children imitating the roles of parents and teachers. But he disagrees that no actor can transform into a character hundred percent, though many claim. Even while performing the actor has to restrain. For instance if a character stabs as he transforms into his true self, at that moments of alienation and transformation in succession rules the thought process.
This can be seen even in stylized forms of theatre. For example,a kathakali performer, adjusting the position of the stool, without causing any disturbance to the viewer. On the part of the viewer also there is transformation.Touching make them shed tears explained Raja Varier whose areas of interest also includes psychological aspects of acting. That explains the reason behind the forthcoming production on Arjuna of Mahabharatha.
His book on kakkarissi natakam was included in the syllabus of second year degree students. His latest work the legacy of Padeni will be released y the Public Relation Department soon as part of the Heritage series. A compilation of eighteen essays on theatre will also be available in print in the near future. Early this year he portrayed the role of ooma in the play karutha daivethe thedi by the thespian G. Sankara Pillai. The same play was staged twenty five years ago. In this play all actors except Raja who played the pivotal role essayed their respective roles a quarter century ago. In Dhurabangam an adopted version Bhasa’s oorubhanagam Raja played the triple role of Balaraman, Bhiman and Draupathy. In kudiyozhikkal the only khandakavyam by Vailopilly he played the center character of the poet who suffers a lot of mental conflicts, It was directed C.S. Sudi a product of school of drama. The last play performed by this artiste is premamrutham by C.V.Raman Pillai in which he portrayed the role Ragavan Kartha BA. BL.
Raja Varier was initiated in to the field of theatre by his father K.G.Varier, a retired A.O of KSRTC. An active member of KESCA he has staged several plays. “I have a special attraction towards all our spectacular folk theatres and art forms. Thus after PDC, I joined school of drama, Trichur. Vayala Vasudevan was our HOD. There I had a fairly good exposure on all aspects theater. Though acting was the main subject, the pupils were well equipped in all faculties like lighting, set, costumes and music. Then I did my post graduation in the Centre University of Hyderabad, M Phil on theater and then PhD”
He is planning to work on “blackouts“experienced by actors on stage.
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According to him we all have an actor in us. The best example is children imitating the roles of parents and teachers. But he disagrees that no actor can transform into a character hundred percent, though many claim. Even while performing the actor has to restrain. For instance if a character stabs as he transforms into his true self, at that moments of alienation and transformation in succession rules the thought process.
This can be seen even in stylized forms of theatre. For example,a kathakali performer, adjusting the position of the stool, without causing any disturbance to the viewer. On the part of the viewer also there is transformation.Touching make them shed tears explained Raja Varier whose areas of interest also includes psychological aspects of acting. That explains the reason behind the forthcoming production on Arjuna of Mahabharatha.
His book on kakkarissi natakam was included in the syllabus of second year degree students. His latest work the legacy of Padeni will be released y the Public Relation Department soon as part of the Heritage series. A compilation of eighteen essays on theatre will also be available in print in the near future. Early this year he portrayed the role of ooma in the play karutha daivethe thedi by the thespian G. Sankara Pillai. The same play was staged twenty five years ago. In this play all actors except Raja who played the pivotal role essayed their respective roles a quarter century ago. In Dhurabangam an adopted version Bhasa’s oorubhanagam Raja played the triple role of Balaraman, Bhiman and Draupathy. In kudiyozhikkal the only khandakavyam by Vailopilly he played the center character of the poet who suffers a lot of mental conflicts, It was directed C.S. Sudi a product of school of drama. The last play performed by this artiste is premamrutham by C.V.Raman Pillai in which he portrayed the role Ragavan Kartha BA. BL.
Raja Varier was initiated in to the field of theatre by his father K.G.Varier, a retired A.O of KSRTC. An active member of KESCA he has staged several plays. “I have a special attraction towards all our spectacular folk theatres and art forms. Thus after PDC, I joined school of drama, Trichur. Vayala Vasudevan was our HOD. There I had a fairly good exposure on all aspects theater. Though acting was the main subject, the pupils were well equipped in all faculties like lighting, set, costumes and music. Then I did my post graduation in the Centre University of Hyderabad, M Phil on theater and then PhD”
He is planning to work on “blackouts“experienced by actors on stage.
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