Direction : Manju Kodagu Cast : Shwetha Arehole, Chaithra Kotyan, Charith Suvarna & Avinash Rai Ninasam
DASHANANA SWAPNASIDDHI Review
In the rich tapestry of Indian aesthetic thought, Abhinavagupta, the influential Kashmiri philosopher and aesthetician of the 10th-11th centuries, profoundly emphasised the critical role of pre-reading, or a foundational intellectual engagement with a text, prior to its experiential realisation in performance. His theoretical framework posits that for a 'rasika'-an audience member possessing the refined sensibilities of an ideal spectator-an initial intellectual immersion in the literary work is not merely beneficial but essential. Abhinavagupta's seminal commentary on the Nātyaśāstra, famously titled 'Abhinavabharati', serves as the cornerstone for explicating this perspective. It is within this tradition that DASHANANA SWAPNASIDDHI, directed by Manju Kodagu, emerges as a poignant and beautiful theatrical work. The play itself is enough for the rasik (audience) to enjoy its rasa (essence). However, a pre-reading of the epic and the art forms used in the play can elevate the viewer's experience to another level. Even a post-reading can be helpful in this case.
Kuppalli Venkatappa Puttappa, popularly known by his pen name Kuvempu, was an Indian poet, playwright, novelist, and critic widely regarded as the greatest Kannada poet of the 20th century. Sri Ramayana Darshanam is his most popular work and his magnum opus in Kannada, based on the Hindu epic Ramayana. It earned him many distinctions, including the Sahitya Akademi Award and the Jnanapeeth Award in 1968. He received the Padma Vibhushan in 1988 for his contribution to literature. Sri Ramayana Darshanam was published in Vol. 1 (1949) and Vol. 2 (1957). The play DASHANANA SWAPNASIDDHI is a chapter from this magnum opus.
The foundational narrative of Rama, as enshrined in Valmiki's Ramayana, undergoes a profound metamorphosis within Kuvempu's unique artistic sensibility. This reinterpretation is rooted in what the poet terms 'darshanam'. With its roots firmly in Sanskrit, 'darshanam' encompasses a spectrum of meanings that extend far beyond a simple act of observation. At its core, it signifies ‘seeing, vision, or perception.’ However, within a philosophical context, particularly within the expansive tradition of Hinduism, 'darshanam' transcends mere visual apprehension. Here, it denotes the auspicious and transformative experience of beholding a deity or a revered holy person. This experience is not unidirectional; it implies a reciprocal interaction where the devotee's gaze upon the divine is met with the divine's acknowledgement, resulting in the bestowal of blessings. In DASHANANA SWAPNASIDDHI, Ravana receives the darshana (visitation) of not only Goddess Kalika, but also Lankalakshmi. The audience receives the darshana of rarely mentioned women in Ramayana: Dhanyamalini and Mandodari, along with a never-before-portrayed Seetha. Kuvempu’s writing is therefore 'darshanam', which is not confined to a unilateral act of viewing; it fundamentally implies a mutual exchange, wherein the observer is also "seen" by the divine, thereby partaking in a sacred dialogue and receiving benedictions. This semantic breadth allows the term to embrace both the literal act of visual perception and a more profound, often spiritual, experience of discerning and being discerned by the divine essence. Ultimately, everyone, including the highest sinner, can be embraced by the cosmic energy and has the possibility of receiving salvation. In this chapter, Ravana is portrayed with the capacity to receive salvation, and amidst his chaotic ego, we also see his devotion, childlike innocence, and a humanised version of Ravana. The epic, enriched by a profusion of metaphors and Homeric similes-elements innovatively introduced into Kannada literature by the poet-serves as a compelling vehicle for this universal truth. It posits that all sentient beings, even those seemingly entangled in the deepest throes of wickedness and transgression, are inherently propelled toward an evolutionary trajectory culminating in ultimate spiritual perfection, a path that includes Ravana.
Kuvempu's Sri Ramayana Darshanam stands as a monumental work, offering a profoundly re-envisioned narrative of the revered epic. Within this magnum opus, the chapter DASHANANA SWAPNASIDDHI particularly distinguishes itself by venturing into the extraordinary inner world of Ravana. It meticulously details his improbable, almost hallucinatory, experiences, bringing to the forefront his deep-seated inner conflict and the subtle trajectory of his transformation. Kuvempu masterfully presents Ravana not as a unidimensional antagonist, but as a deeply complex character, constantly wavering between acts of perceived villainy and the profound, underlying yearning of his soul for salvation.
The episode commences in the immediate aftermath of his army's crushing defeat and the impending destruction of Lanka. Plagued by anguish, Ravana turns to intense worship of Goddess Kalikadevi, desperately seeking the power required to overcome Rama. When the Goddess hesitates to grant her blessings, Ravana, consumed by an overwhelming despair, resolves upon a supreme act of sacrifice: offering his head. It is within this trance-like state that he is visited by spectral figures – Dhyanamalini and Lankalakshmi – who lament the widespread devastation of Lanka. This poignant vision acts as a catalyst, propelling Ravana towards profound repentance and steeling his resolve for a final, decisive battle with Rama, a desperate bid to safeguard his beleaguered kingdom.
This almost 90-minute performance is a treat for the senses and the soul. Directed by Manju Kodagu, who has a long association with Ninasam, a renowned theatre institution in the South where he has worked as a teacher for 23 years and directed numerous productions, his excellence in stage design and martial arts is evident in the production. The production is high on adrenaline and strongly showcases the physicalisation of emotions. Blending folk theatre styles with modern aesthetics, DASHANANA SWAPNASIDDHI offers a profound picture of this trance-like state. The entire show has been designed to enable maximum exploration possibilities of an actor's body. Starting with Dravidian-style pooja rituals, we see Ravana (played by Avinash Rai), a protean figure who represents only one facet of the vibrant exchange. Opposite him, the Goddess (portrayed by Shwetha Arehole) whirls and sways, her myriad forms given tangible expression through the nuanced arch of her brow, the rhythm of her dance, and a succession of traditional vestments that she assumes with an ethereal, divine elegance. The visceral impact of her performance, however, is no less profound than Ravana's; she gives corporeal form to an indifferent, yet immensely sagacious, force of nature. She navigates the intricate affairs of mortals with the detached curiosity of a child, subtly altering the path of ants.
These two compelling characters, Ravana and the Goddess, coalesce into a truly spellbinding interplay. Their dynamic reactions to one another and to the world unfolding around them fluidly shift from moments of intense fervour to instances imbued with a poignant tenderness and profound understanding. This intricate relationship is further enriched as the performance seamlessly weaves a tapestry of various folk and blended dance forms. The production then builds to a powerful climax with a Marga-style Kudiyattam sequence.
Marga-style Kudiyattam: This traditional, codified form of Sanskrit theatre, originating from Kerala, is distinguished by its strict adherence to ancient performance manuals known as Attaprakarams. It is characterised by meticulously stylised acting techniques, especially netra-abhinaya (expressive eye movements) and hasta-abhinaya (intricate hand gestures). Within this Kudiyattam segment, the portrayal of Seetha marks the play's emotional zenith and its most extended portion. This is unsurprising, given that Kudiyattam performances are renowned for their deliberate pace and detailed dramatic elaboration of situations. To witness an unlikely tableau of Seetha in Kudiyattam form alongside Kumbhakarna and Ravana presents an almost impossible yet captivating image, thereby solidifying DASHANANA SWAPNASIDDHI as a true act of 'darshanam'-a profound, revelatory vision.
The play's profound resolution arrives with Ravana's moving conversation with Mandodari, his first wife and the daughter of the celestial architect. This dialogue, rich with poetic beauty, emerges as the most sublime section of the entire production. While the play is generally highly physicalized, this segment with Mandodari, despite its minimal physicality, resonates with the utmost power, reaffirming the enduring beauty of simplicity and sublimity. One interesting aspect about this play is its excellently timed subtitling. With a perfectly chosen cast-Avinash Rai as Ravana and Shwetha Arehole seamlessly embodying four different goddesses-elaborately adorned by costume designer Rajeshwari Kodagu, enhanced by the dramatic lighting of Manju Hiremath, and accompanied by traditional live musical performance, DASHANANA SWAPNASIDDHI is simply an unforgettable experience, a dream that genuinely demands to be witnessed.
Dr. Omkar Bhatkar is a Sociologist and Playwright. He has been teaching Film Theory and Aesthetics and involved in theatre-making, poetry, and cinema for more than a decade now. He is the Artistic Director of Metamorphosis Theatre and Films.
