Arts

The music scene in India has undergone quite some changes since the introduction of microphones and loudspeakers. In the pre-technological era, it was natural for the singer to train himself for singing in different octaves, especially to be audible to everyone. Nevertheless, the kind of emotive content that a singer can deliver when he sings in his natural voice and at an octave that suits him best, cannot be brought about otherwise. Gentle oscillations of the notes, gradual transitions, and subtle embellishments are extremely important for classical music.

Let us examine the qualities that the extempore delivery of dialogues on the stage should ideally possess. Adherence to śruti, though important, is not the only aspect that needs to be cared for. Pronunciation of every syllable should be accurate. Depending on the situation, appropriate words, syllables, and punctuations must be appropriately emphasized. Artistes should modulate their voice as per the emotion that needs to be expressed. In addition to these, pauses, accurate splitting of words, and silences at appropriate places also strengthen emotive expression.

Vācika

Mātu and dhātu are the two aspects of vācikābhinaya. They can be loosely translated as lyrics and music, respectively. Gadya, padya, and gīta (pada) are the components of mātu. Gāna and vādana tuned to śruti and laya constitute dhātu. We shall have a look at the vācikābhinaya of Yakṣagāna in the same order.

I hereby list a few suggestions for Yakṣagāna artistes, especially to enrich their āṅgikābhinaya and realise its value.

• It is important to ensure that the strī-veṣas are more graceful and gentle. This can be achieved by blending the movements of Yakṣagāna with the movement vocabulary of the Nāṭyaśāstra. Movements will need to be adapted to suit the nature of the character.

Usage of coloured screens in the background and bringing in sceneries on the stage prove to be obstacles in evoking Rasa. Similarly, tying banners or displaying advertisements are aesthetic impediments. Many a times, the sponsor, the patron or the academy that is hosting the show wishes to prominently display his name at the background. This has to be strongly discouraged. It suffices to have a screen of the navy blue or black shade as the backdrop. It is not appropriate to seat the himmeḻa – the music ensemble – behind the actors, facing the audience.

We will need to take stock of the experiments that have taken place with costumes of Yakṣagāna, especially in introducing new characters. Noteworthy attempts have been made by Karanth in developing animal characters such as Jaṭāyu and Māyāmṛga and by Raghava Nambiar in serpent-characters such as Takṣaka. While Karanth used masks, Raghava Nambiar has managed to bring out nuances merely with facial make-up.

To summarize, it would not be wrong to say that Yakṣagāna has its own costume that is self-complete and beautiful. The puṇḍu-veṣa (kedagè-mundalè) of Baḍagutiṭṭu has almost reached perfection. However, the kaṭṭu-mīsè (tied moustache) and muṇḍāsu (big turban) that is larger than necessary will have a negative impact primarily on sāttvikābhinaya. They are also detrimental to vācikābhinaya and āṅgikābhinaya, in the decreasing order.

For the sustenance and growth of any form of art, novelty and constant practice are essential. They are required both at the level of the individual and the society. Though most people intuitively agree with this, there have been several discussions and debates regarding the nature of the novelty that is introduced in an art and the value that innovation adds to aesthetics.

The Nāṭyaśāstra classifies raṅga-prayoga (theatrical performances) into two kinds, based on the place where it is staged – bāhya (outdoors) and ābhyantara (indoors). Performances that fall under the category of bāhya are presented on make-shift stages, outdoors. (This is also called bayalāṭa in Kannada).  Ābhyantara productions are presented indoors on a permanent stage.

A theatrical performance that is rich in prose-like spoken language, employs gesture language that isn’t stylized and has āṅgika that largely divorced from pure nṛtta can be called nāṭya; such a theatrical performance is closer to loka-dharmī. In another case where vācika takes the form of lyrics (which are largely in metrical patterns) set to a rāga and to a rhythmic pattern, and when āṅgika becomes stylized like in nṛtta, the performance assumes the form of a nṛtya.