‘Aboobackerinte Umma Parayunnu,’ a solo act by Rajitha Madhu, delineates the Kayyur incident through the voice of the mother of one of the victims.
It happened almost seven decades ago, and to the new generation, it hardly exists. It is as if the Kayyur incident has been conveniently forgotten by the post-globalisation world as a tale about class struggle. But actor Rajitha Madhu takes a page out of a now quiescent chapter in the history of Kerala and reminds us that “it is easier to forget; it’s remembering that’s difficult.” Continue reading “Echoes of struggles”
‘Ottayal,’ Shiny Jacob Benjamin’s documentary on Daya Bai, is an inspiring account of the life of a social activist from Kerala who has chosen to work for the empowerment of tribals in Madhya Pradesh.
‘Ottayal‘ or ‘One Woman-Alone,’ an hour-long documentary on Daya Bai, maps the journey of a teenaged novice from Pala who decided to give up the cloistered life in a convent to serve the tribals of Madhya Pradesh. Continue reading “Face of compassion”
Nireeksha’s ‘Aanungal Illatha Pennungal’ is an adaption of Shahrnush Parsipur’s novella titled ‘Women without Men.
‘Aanungal Illatha Pennungal‘ (Women without Men). The title is reminiscent of Hemingway’s work, ‘Men without Women’ and enough to intrigue the audience. Nireeksha, the women’s theatre group who staged this dramatised version of Iranian writer-in-exile Shahrnush Parsipur’s novel of the same name, definitely does not disappoint. The script by E. Rajarajeswari and direction by C.V. Sudhi have conscientiously retained the polyphonic quality of the novel which depicts the destinies of five Iranian women escaping the narrow confines of family and society during the politically charged times of 1953. Continue reading “For a place called Freedom”
I t was a journey back in time. The drama ‘Parinayam,’ penned by M. T. Vasudevan Nair and directed with creative modifications in the script by Soorya Krishnamoorthy, was staged for an invited audience at the Model School Auditorium, Thiruvananthapuram, recently. Continue reading “Friday Review | Revisiting a Trial”
An interesting ‘visual jugalbandhi,’ claimed to be a first in Indian theatre, was staged at Vyloppilly Samskriti Bhavan in Thiruvananthapuram. The ambitious endeavour was a a combination of play and paints. The event, a new visual interpretation of C.V. Balakrishnan‘s ‘Ayussinte Pusthakam‘ and an on-the-spot artistic impression of the play on canvas by artist Udayakumar, certainly entertained viewers. Continue reading “Friday Reviews | Impressive Visualisation”