Dance drama Yodha, directed by RK Dhingra, was a mix of almost all our martial arts that are a legacy of the ancient traditions of warfare. By Utpal K Banerjee
Samson and Delilahis a Bible-based religious romance (filmed very successfully in Technicolor by Cecil DeMille in 1949, starring Hedy lammar as Delilah and Victor Mature as Samson). In scriptures, Samson is a Danite Hebrew, placed under divine strictures since birth: that his superior strength lies in his hair-locks and that he is to be fatally betrayed by a beauteous maiden. Engaged to a Philistine woman, he is involved in a betting fracas during the wedding feast, where his fiancée and her father are accidentally killed. Samson becomes a hunted man and his fury is unleashed in fighting the Philistines. The overall ruler, Saran of Gaza, comes down heavily on the Danites and, in frustration, the latter hand over Samson to the Philistines: much to the joy of Delilah, his dead fiancé’s ravishing young sister. Samson is taken prisoner by a regiment of Philistine troops. En route to Gaza, they taunt Samson who rips apart his chains and combats the Philistines: toppling their war-chariot and using a make-shift jawbone to club the Philistine soldiers to death.
News of the Philistines’ defeat at the hands of Samson and his supernatural prowess reaches the Saran who ponders how to eliminate Samson. Delilah proposes seducing Samson, thus having him reveal his well-kept secret. During love-making, she playfully cuts his hairs: in order to neutralise him. Samson is blinded by the captors, put to slave-work and is eventually brought to the Dagon temple for “entertaining” the Philistines and the Saran. However, Delilah has been in love with Samson from the very beginning ever since his betrothal. Attending the public torture of Samson, Delilah wields a whip: used to guide Samson to the Dagon temple’s main support pillars. Once he stands between them, he pushes the pillars apart. The latter give way and the temple collapses, burying Samson, Delilah and all the Philistines inside alive. In the end, the temple lies in rubble.
Yodha,presented recently by Chaman lal Memorial Society during their ceremony for annual awards of excellence in theatre’s backstage activities, was a diluted version of the Biblical myth. With concept, light design and direction by the stage-wizard RK Dhingra, the dance-drama was made a thrilling light-and-sound spectacle: perhaps deservingly so, since the occasion demanded it. The shimmering forests, the valleys and dales, the pristine nature in which Samson and Delilah roamed and frolicked and, above all, the sheer profusion of wildlife — with lions, cheetahs, deer and lesser annals moving and surging around in full-blooded glory — was a treat for the eye. When thunderbolts and lightning struck, they came from all directions: wrapping the viewers around. The story-line was twisted a little to make the spiteful king also die ar the end — with crumbling palaces — and Samson championing the victory of good over the evil: thus transforming the Biblical tragedy into a redemption of Indian ethos and singing sonorously the Gita sermon: Yada Yada Hi Dharmasya…
In brisk costumes: modelled on ancient Rome, Samson and Delilah — here the yodha (warrior) and his ladylove — were essayed with aplomb by Anil Panchal and Bharti Dang, choreographers themselves, they were ably supported by over a score of their cohorts. The corps du ballet was excellent in all their martial art movements. Indeed, Yodha was remarkable for its encapsulation of almost all the martial arts of India that have come our way as a legacy of the ancient warfare traditions. The opening was with Manipuri Thang-Ta (sword and shield) dance: to establish Samson’s outstanding bravery. After the overture, the most prominent skill was in abundant Mayurbhanj Chhau: with its virile recapitulation of vertical leaps, broad jumps, circular pirouettes and wide throw of hands and limbs, Anil, a seasoned Chhau dancer, was able to groom others well. Some glimpses were also seen of Kerala’s Kalaripayattu: with stretched bodies and limbs and highly-alert fighting actions and reactions.
Excerpts of an interview with the director:
What were the principal features of your scintillating lighting designIJ
First and foremost was my use of “gauze curtain” to provide a 3D effect of the jungle scenes: projected in 2D. The front transparency enables the forest creatures to be seen both in front and behind, alongside the moves of the human characters. The second was the synchronised movement of actions, properties and music. For instance, the last scene had complete synchronisation of the fall of pillars and destruction of palace by Samson with the computerised music. Third, when lightning on stage happened, it engulfed the auditorium from all sides. Fourth, the Dolby sound was made to surround the listeners as though they were sitting in a well. Fifth, there was a web of images enveloping one and all. Finally, Samson’s cage for imprisonment was visualised with laser beams.
What is your take on choreographyIJ
Besides Indian martial arts, we also used some modern and Western dance-movements. In particular, the six female dancers in the king’s court executed a consummate Flamenco number: straight from Spain.
Your music was both Western and Indian…
Music was mainly my selection. I used a lot of Spanish melodies. Flute has been a special favourite of mine!
lastly, how authentic were you in alluding to the BibleIJ
I wanted to use the Biblical theme, yet make it Indian: in the mode of our divine interventions and incarnations. Hence mine is not a tragedy, although the essence of the Samson theme has been retained, complete with the costume.
Photos: Pankaj Kumar