How Bhagavadajjukam, a Koodiyattam play once performed over 36 days, was adapted into a three-hour version by Painkulam Rama Chakyar, opening new possibilities for the art form.
The wide popularity of the Koodiyattam play Bodhayana’s Bhagavadajjukam is indisputable. This can be attributed to the duration of the play—only three hours—thanks to the ingenious editing of the original, which used to take 36 days to complete! The credit for this monumental achievement goes to the late virtuoso Painkulam Rama Chakyar, a revolutionary figure among the tradition-bound Chakyar community. Notably, he was the first to present Koodiyattam outside the temple precincts as early as 1949. Further, the doyen was instrumental in introducing Koodiyattam to Kerala Kalamandalam in 1965, thereby breaking the caste barriers that once restricted the practice of this ancient Sanskrit theatre.
Among the varied dramatic forms, rupakas are the major ones, with prahasana being a category that treats humour (hasya) in a serious manner. Bhagavadajjukam belongs to this latter category.
The unique storyline of Bhagavadajjukam
The hero of the play is Sandilya (the vidushaka), a Brahmin from a poor family whose primary obsession is finding food (annam). In his quest, he explores different faiths and even joins a Buddhist monastery, only to be disappointed by the meagre quantity of food served just once a day. Disillusioned, Sandilya leaves the monastery and follows a mendicant (Bikshu) who is thoroughly detached from worldly life and lives by begging. However, to Sandilya’s dismay, he is also made to carry the Bikshu’s belongings, much like a donkey, and continues to starve.
The play opens with a narration of Sandilya’s pitiful predicament. Meanwhile, Vasantasena, a courtesan, waits with her companion Parabruthika in a garden for her client Ramilaka. Her alluring song attracts the Bikshu and Sandilya to the garden. As she picks flowers, Vasantasena is bitten by a snake, a fate orchestrated by Yamapurusha, the messenger of Yama. Grief-stricken, Sandilya watches as the Bikshu resurrects her by performing parakayapravesa, transferring his soul into her body. This creates a puzzling situation where the Bikshu’s body lies dead while Vasantasena, now animated by the Bikshu’s soul, behaves like the ascetic.
Yamapurusha, upon realizing his mistake in selecting the wrong victim, tries to rectify it by transferring Vasantasena’s soul into the Bikshu’s body. By this time, Vasantasena’s mother and a physician have arrived, only to be further perplexed by the effeminate behaviour of the ascetic and the courtesan’s display of the ascetic’s mannerisms. Finally, the confusion is resolved when Yamapurusha switches the souls back to their rightful bodies. Sandilya, utterly baffled by the events, is promised an explanation by the Bikshu once they return to their ashram.
A memorable performance by Kerala Kalamandalam
The play, staged by the staff and students of Kerala Kalamandalam, featured Kanakakumar as Sandilya (vidushaka), Sangeeth Chakyar as the Bikshu, Sindhu as Vasantasena, and Krishnendu as Parabruthika. All of them performed commendably. The supporting cast included Nandan as Yamapurusha, Seethalakshmi as Ramilaka, Aswathy as Vasantasena’s mother, and Akash Gangadharan as the physician.
The percussion ensemble, consisting of Dhanarajan, Sajith Vijayan, Vivek Abhishek (on mizhavu), and Sreeraj (on edakka), provided inspiring accompaniment, while Haritha and Sumitha handled the talam.
The wide variety of aahaarya (costumes), abundant humour, and the exquisite bhasha slokas composed by the late Chakyar were notable highlights of the production.
The play was staged as part of the navathy (90th birthday) celebrations of Adv. C. K. Narayanan Namboodiripad, patron of the Thrissur Kathakali Club. The enduring legacy of Rama Chakyar was further reinforced by the fact that this production was presented by the second and third generations of his disciples.
