Jeevacharithram (The
Biography): A Novelistic Drama
A.C. Sreehari
Theatre is at once
a showcase and a forum, a medium through which a society’s ideas can be
displayed and its conflicts, dilemmas and struggles can be debated.
The
drama produced & presented by Central Arts, Vellur, in Payyanur, ‘Jeevacharithram’
(The Biography) belongs to the theatre of debate. It is not a drama of an
individual’s will but of a society. Biography, originally conceived by the West
as one of an individual’s story is shifted to that of a society. The zest for
social life so abundantly felt in a dynamic age pulsates in every inch of the
drama.
Theatre
remained largely a male bastion. Women, Nature, all the other phenomenon
existed in the margins. The drama openly seeks to disrupt complacency with this
status quo and comment on the immediate day-to-day issues. It is a powerful
political act as well as uninhibited aesthetic exploration.
Not
to portray a character as a hero or even as a credible force for change in
society is an anathema for the conventional eye. To eschew dramatic conclusion
and climax also is unthinkable. No once is a principal character or protagonist
in this drama but the society.
All
the world is a stage to Shakespeare and here this drama explores how stage is
also a world. A seemingly helpless populace of a village in Kasaragod comes to
the centre of the stage/world and the centripetal is undermined by the
centrifugal forces. Serious and sober public demands more intelligent and
focused responses to major issues and no more gigantic cut outs of heroes,
‘noble savages’, saintly mothers or brainless play things- a malady of the
mainstream drama. The dalit, damit, feminist causes are made part of the class
struggle. The Communist Manifesto read out in the drama manifests the political
base up on which the drama is built up.
This
drama imagines the death of the family, private property and the state in the
true sense of the term. Champan is not able to continue his conjugal tie,
Balakrishnan Nambiar disowns his properties & Chomaru resists the state
intervention in to their affairs-the three significant characters of the drama.
The
great Aristotalian Unities, the textual version of imperialism, is broken by
introducing innovative digressions to John Abraham et al. Tragedy, a
male play, is given a hit by introducing carnivalesque laughter as things once
thought as daring have become routine and common place.
One
of the greatest achievements of this drama has been the ruthless
democratisation of art of the multiplicity of struggling and often competing
voices. ‘The Biography’ attempts an (alter) native historiography, in the body
language of the underdogs.
N.
Sasidharan & S. Sunil - the makers, and the actors like Babu
Annur, Rajitha Madhu, Sargam Damu, Ramesan, Suresan, Krishnan, Ajayan, and two
young ones - all go to make this play unconventional by unlearning the concept
of the traditional drama by breathing a novelistic life into the theatrical
form.
Theatrical
representation is finite and leaves behind it, behind its actual presence, no
trace, no object to carry off. It is neither a book nor a work, but an energy
and in this sense it is the only art of life as Derrida has put it.