Shama Bhate recently presented Ateet Ki Parchhaiyaan, a take on the Mahabharat, with seven noted dancers, established in their own forms. By UK Banerjee
The Mahabharata is an epic narrative of the Kurukshetra and the fates of the Kaurava princes and their Pandava cousins. It also contains philosophical and devotional material, such as, discussion on purusharthas (goals of life). With the authorship attributed to the sage Vyasa, there have been many attempts to unravel its historical growth and composition-layers. The oldest preserved parts of the text seem to be not older than the 4th century BC, while the genesis of its events probably falls between the 9th-8th century BC. Considered to be the longest poem ever written (it comprises over 2,00,000 individual shlokas as well as long prose passages — roughly 10 times the length of the Greek epics, the Iliad and the Odyssey, combined.
Ateet Ki Parchhaiyan (Mahabharata Re-interpreted), recently presented by Nad-Roop from Pune, was a scholarly re-imagination of the great epic — portraying an entire spectrum of human life and emotions — in the language of seven classical dance-idioms: Kathakali, Odissi, Mohiniyattam, Kuchipudi, Kathak, Bharatanatyam and Mayurbhanj Chhau. Scripted and directed by Shama Bhate, the dance-drama focussed on Krishna as an imaginary presence; Drona (not shown) and Bhisma considered as elders; Kunti and Gandhari as two sides of single womanhood; Karna as the stand-alone warrior; Yudhisthira (representing Pandavas); and Duryodhana similarly standing for the Kaurava clan.
Among the heroes, Bhisma (Kannan in vigorous Kathakali, sans make-up and elaborate attire), despite his undying integrity and immense sacrifices for the Kuru dynasty, pondered why he remained a mute spectator during Draupadi’s slanderous disrobing in the open court. Yudhisthira (Ramli Ibrahim in resplendent Odissi), symbol of truth and morality, ruminated over falling prey to Shakuni’s machinations. Duryodhana (Rakesh Saibabu in virile Chhau), the great warrior, went mentally over several of his evil acts. Karna (Vaibhav Alekar in Bhratanatyam), whom destiny denied the rightful dues, regretted his secret lust for Draupadi.
Among heroines, Draupadi (Ameena Patankar in Kathak), went over her standing always her ground in the face of every austerity and injustice. Kunti (Vyjanthi Kashi in Kuchipudi), a deprived queen-mother, rued having relentlessly pushed her sons towards the throne. Gandhari (Gopika Sharma in Mohiniyatam), the chaste woman who chose a life of darkness and questioned her own sagacity.
All the while, there were vignettes galore — of the game of dice, the menstruating queen’s ultimate indignity, Abhimanyu’s ignominious end at the hands of vaunting war-mongers, five prancing Pandavas in Chhau outfit, and the ubiquitous Kathak damsels — pirouetting in and out, to provide the breathing breaks.
Excerpts from interaction with Shama Bhate:
Why did you leave out the character of KrishnaIJ
Krishna was the pervading spirit of all events — always present and the unseen controller of everything. All the perceptions lead to him, as I depicted in the last cameo, where the seven protagonists are seen introspecting by converging attention on the distant illumination.
The principal characters never interact...
They all are at the end of their life’s journey, where each has experienced the futility of self-jusitification. Everyone wonders if the Great War could have ben avoided; if it could have been handled differently; and was it necessary after all. Everyone’s introspection is individual and there is nothing to share.
Your characters were doyens of classical dance...
Once approached, they were excited to participate, but their availability was the problem. I had to arrange rehearsals in segments of five days with sufficient intervals. Ramli Ibrahim from Malaysia, too, adjusted well.
Did you earmark the screen-background and the shadow-dance behind, for flash-backIJ
Absolutely. All the characters were at the end of their respective lives. While they introspected and retrospected, and while they reprimanded, placated and even defended themselves, it was worthwhile to recapitulate their earlier life’s actions through the shadows.
The dance-drama provides a existential experience…
Yes, each of the principal characters realises that unless one’s ready to accept responsibility, there would be no peace; no freedom from existential guilt; and one must accept the truth of only having played one’s role.