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Karnataka, in South India, is a land known for its rich cultural heritage and folk traditions. Karnataka is probably the
state in India where all the three major puppet forms-the Marionette, the Rod and the Leather-have been equally popular among the people.
These art forms owe their existance to the "Temple based puppet
theatre" which flourished for centuries in the state.
Putthali Kalaranga is a troupe of youngsters which has specialised in "Rod Puppetry". The wooden puppets used by the troupe are one of
the tallest of their kind. Each puppet is 3 to 31/2
ft. in height and weighs around 10 kg. The puppets are known for their beauty, traditional embellishments, myriad colours and rich ornamentation. They have made a mark in the Puppet world by their sheen, sparkle and style.
The manipulation of the tall and hefty puppets is an arduous task. The manipulator hangs the puppets from his head (with the help of strings) and gives them motion by jerking the rods. For this reason, these puppets
are also referred to as "String-cum-rod puppets".
Putthali Kalaranga has evolved a unique style of puppetry which has come to be recognised as the "Mudrika School of Puppetry".
The school emphasises the philosophy of the union of the God and the soul or the physical and the spiritual. The Style, the theme and the contents of the episodes that the troupe stages are aimed at highlighting the
philosophical truth namely "Humans are puppets in the hands of the God".
The "Natya Shastra", the Indian epic dealing with dance and drama, lays stress on "Abhinaya
". Abhinaya comprises "Vachikabhinaya" (facial expression) and "Angikabhinaya" (body movement). The Mudrika School accentuates these principles.
THE PERFORMANCE The episodes chosen by the Putthali Kalaranga for its shows are invariably from the Puranas, the Indian mythological works. The Kalaranga has given numerous performances of
episodes like Shri Krishna Thulabhara, Shri Krishna Parijatha, Kumara Sambhava, Girija Kalyana, Hanumad Vilasa.
The Duration of a show is about 60 minutes when familiar mythological anectodes come to life on the
stage. For example, Shri Krishna Thulabhara depicts how Narada cooks up a drama to teach proud Sathya Bhama a lesson. Bhama realises the power of true love when Rukmini puts a "Thulasidala" to tilt the balance
in which Sri Krishna is being weighed. PRESS REVIEWS
The Kalaranga performances was an attempt at universalisation of character and the theme lead to the creation of aesthetic delight
and pleasure. It was a unique show, not quite common these days. - The Times of India, Mumbai. With every manoeuvre by the puppet master the theme and the narration advanced on the single plane of
mechanical expediency. - The Hindu, Chennai. Fading puppets are given a dusting. The puppets were colourful and costumes had an old time look. The puppets depicted the story through the jerky movements
of hands. - Deccan Herald, Bangalore. The entire sequence was breath - takingly conceptualised and executed... "Magical performance" - The Pioneer, New Delhi. |
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