Loka Shakuntala
Now, it would be enough to suggest the major changes I made in yakshagana as well as 'Shakuntala'.
While preparing the new text of Shakuntala I divided the play into two parts. The portion of the story revolving around Kanwa's ashrama, (that is, till the end of the fourth act.) constituted the first part, and the rest constituted the second part. In the first part there were ten scenes that were short to start with but grew more and more lengthy as the play progressed; and in the second part, there were seven scenes of Hastinawathi followed by the eighth one at Hemakoota.
Viewing 'Shakuntala from' the standpoint of today and for reasons already cited above, it became necessary for me to pay more attention to the 'commoners' appearing as minor characters in the original play. On this account, I had to delve deeper into, and as a result, lengthen the characters of suta, vidooshaka and the disciples of the ashrama in the first part of the play.
A group of hunters and the group-head that were merely suggested by way of information of the original play were now added to it as full-blooded characters. Further, I chopped off certain portions from the love-scenes of Dushyanta and Shakuntala keeping the mainstream in tact. Changes were made even in the order of sequences. Kanwa was merely suggested and kept in the background. In the second part again, the roles of those that visit the city, such as taapasaa, cheti, Vidooshaka, Kanchuki and so on were further lengthened. Because of this overhauling, the scene dealing with the fisherman and the government officers automatically got more prominence. The short sequence dealing with Dhanamitra, the merchant, were slightly lengthened. Then I added two incidents: Dushyanta's yajna to appears god so that Dushyanta is blessed with progeny. In one of the scenes I made Hamsapadika cry. Also, I made Mathali take the 'raakshasa form' (giants form) instead of the 'form of the invisible'. In the second part also it became necessary to chop off certain portions relating to Dushyantha. The scene where Shakunthala comes to the palace but is rejected by the king was scissored here and there and the action was cut short to give the impression that it was just an instance of 'hearing' the appeal from the public, routine and impersonal.
First I prepared the text in my mother tongue Kannada itself. In general, it was a simple translation of Kalidasa's own dialogues from the beginning to the end. Where the dialogues needed greater clarity, I did a bit of improvisation. In addition, I retained short and simple Sanskrit sentences amidst Hindi dialogues in the ashrama sequence to create the necessary atmosphere. The appeal-hearing scene in the palace where Shakuntala is rejected was made to pass entirely in simple Sanskrit. At some four or five places I added a few lengthy monologues (the bhagawata addressing the spectators) that are quite natural to the Yakshagana form, with the view of helping the audience with a base and perspective in understanding the audience with a base and perspective in understanding the play. (S. Balu Rao, Atual Tiwari and Akshara translated my text into Hindi).
The script thus rewritten was given this title (Loka Shakuntala). This was meant to remind the audience that the play aims at defining the milieu of 'Shakuntala' and that, it aims at exploring the richness of the play in its totality from the standpoint of the commoners forming the backdrop for 'Shakuntala', and that it aims at reaching the common folk by using a folk-style and so on.
And now, about the use of Yakshagana - Since the story narrated in the verse-form provides the base in yakshagana, one finds in its songs from the beginning to the end. Extempore speech in possible only because of this verified story. I had dome away with the extempore speech; but in some four or five places, where the need was felt for greater intensity, I added short and simple lyrics-all in the yakshagana style. The aalapa and the bols of the mridangam were used in the Yakshagana style in most of the places; but, in the ashrama sequences the sound of the chanting of mantras was used.
We selected a few effective dance pieces (chariot-dance, hunting dance, oddologa, suttu kunita etc.) from Yakshagana and devised for them new lines of movement. Where there were no dances we devised movement that would fit into the yakshagana style. Thus, a specific rhythm pattern was created throughout the whole play.
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