Margi Vijayakumar has delivered to life each feminine character he has essayed in Kathakali
Margi Vijayakumar’s Damayanti is an ever-evolving character. Initially, she is a teenage princess having fun with the corporate of her buddies. When she hears about Nala, the good-looking, noble and valiant king of Nishadha, Damayanti is drawn to him regardless that she has by no means seen him. A golden swan acts because the messenger of their love story. Then, she turns into Nala’s spouse, and evolves right into a diligent, sensible and clever queen, who sends her youngsters to the security of her father’s palace when Nala begins to lose a sport of cube. When Nala is divested of his kingdom and fortune, Damayanti doesn’t lose coronary heart. Lastly, it’s her dedication and knowledge that helps her discover Nala and be reunited with him.
Vijayakumar takes audiences to the depths of every of those aspects of Damayanti’s character on the 4 days of the staging of Nalacharitham. This, in line with Bharata, the creator of Natya Shastra, is the essence of appearing or abhinaya, which accurately means ‘to carry the character to the forefront’.
Vijayakumar, who just lately retired as principal of the reputed Margi theatre in Thiruvananthapuram, was born 60 years in the past, the seventh of eight youngsters, to Velayudhan Nair and Lalithamma, in Thonnakkal, close to Thiruvananthapuram. His father was the headmaster of a main college, and ensured training for all his youngsters. Vijayakumar had a short publicity to Kathakali appearing at a coaching centre based by the then up-and-coming Peethambaran, however from 1975 he educated below thespians Mankulam Vishnu Namboothiri and Enchakkaattu Ramachandran on the Margi.
For his maiden efficiency at Vivekananda Cultural Institute in Thiruvananthapuram, Vijayakumar was to play Rugmini however selected to play Rugmi, the heroine’s brother. Because of the bodily pressure, he fell unconscious through the efficiency, and Guru Mankulam consoled him, saying he would shine in feminine roles. He went on to change into the favorite disciple of the legendary Kalamandalam Krishnan Nair, then a visiting professor at Margi, who educated him in all the most important feminine roles in Kathakali.
Through the years, Vijayakumar has excelled in all of them, however he counts Urvashi’s function subsequent solely to that of Damayanti. When Urvashi describes Arjuna’s charms in nice element to her good friend, the actor has to visualise his physique and manner in all its grandeur.
Vijayakumar delights in assembly the challenges of taking part in a number of moods concurrently, as within the case of Mohini in Rugmangadacharitham. On one hand, at Brahma’s behest, she has to see that King Rugmangada permits his Ekadasi ritual to be interrupted. On the opposite, she is immensely disturbed about conveying to the king the horrible various of getting to behead his beloved son.
In presenting Poothana in Poothanamoksham, Vijayan doesn’t make use of the same old observe of holding a doll to signify the toddler Krishna; he creates the impression that Lalitha is holding the kid and feeding him by inserting the fabric masking her head over her left elbow to provide the impression of Poothana holding a child.
In Kalyanasaugandhikam, the place Bhima and Draupadi are in a romantic temper, a aromatic flower falls from the sky that Draupadi picks up and exhibits to Bhima. Vijayan presents the entire sequence with out the necessity for an actual flower to be thrown on the stage.
Whether or not Sairandhri, Sati, Kirathasthri, Sita, Rugmini, Subhadra, Lakshmi, Draupadi or Kunthi, Vijayakumar is ready to lend an edge to the efficiency. And just lately, he has begun to broaden his repertoire with robust male roles comparable to that of Sudeva in Santhanagopalam.