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AVANAVAN KATAMPA

A perennial enquiry of the rustic mind into the truth of life; into the contemporary social realities! What does the 'Katampa' (hurdle) represent? Is it egoism? It can be. Is it not selfishness? It is possible. Is it violence? that too is not impossible.

Can anyone cross this and read the world of bliss and join the festivity of the ecstasy of life? No man ever succeeds in crossing the Katampa. But, does this failure warrant elimination of the concept of divinity from our dreams? Dreams must not be shattered, so that man would ultimately succeed in crossing over the katampa. It is indispensable to maintain the continuity of life and human existence.

OTTAYAN

Ottayan 'The Lone Tusker'. This play depicts the experience of an actor in terms of how the individual interacts with the group and vice versa and how the stature of man inhis social existence is affected by this interaction. The play deals with play acting as its central idea.Theatre practice is projected as an intelligent device which saves the individual actor from all dangerous situations, which he encounters.

BHAGAVADAJJUKAM

Ringing satire permeates throughout the play which depicts the misfits in the society, a theme which is relevant for all times. Thus we see the Vidooshaka (Jester) who is innocent ofPrahasana (farce), the physician who is ignorant of the art of medicine, the Yamadootha who cannot identify the right person whose life he has to take away and the Yogi who finds it difficult to re-enter his body after transmigration in to the body of a harlot. To top it all, there is the hedonist Sandilya running from one religious Guru to the other for using religion as a means of satisfying his material needs.

SHAKUNTALAM

This production of 'Shakunthalam' was mainly inspired by two passages of the text, to interpret in the contemporary social context. The passage, which speaks about the royal hunt of Dushyanta, 'Mrigaya Vihari Parthivo Dushyanta' clearly indicates the King's disposition and the reaction of his subjects on this at different stages. The second passage appearing at the end of the text "Prakrti Hitaya Pathiva", also is used to bring out an interpretative structure for the production, 'Prakrti Hita' is 'Praja hita' (the will of the people) to which the king is bound by duty.

MADHYAMA VYAYOGAM

'Madhyama Vyayogam' marks Sopanam's maiden encounter with Sanskrit Theatre in 1978. A theme which brings home to us the warmth of family relationship, the stimulation of human sentiments - the old values being recaptured in a highly dramatic situation.

Mahakavi Bhasa's 'Madhyama Vyayogam' is based on an incident in the Mahabharatha. The Central point of the dramatic development of the play is Madhyama (the middle one) applied to both, Bhima, the Madhyama Pandava, and the Madhyama, the second of the three sons of a Brahmin.

URUBHANGAM

'Urubhangam' by Mahakavi Bhasa noted for its pathos, fury and heroism is a rare specimen of tragedy in the Indian concept.It is poignant with human emotions. An episode from Mahabtharatha depicting the death of Duryodhana is recreated for theatre by the great playwright Bhasa.

Here is a war hero who decidely stood for adharma all through his life. But suddenly he realizes that his belief was wrong. The moment he faces the inevitable finale of his life and when he is turned out to be a lump of day he looks back. Even in him the feelings of dharma dawn.When the war continues to be fought in and around Duryodhana, he realises its futility. But how can he spell it out? He himself has unleashed the devil forces. Now it is too late to withdraw his own creation.

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