City to witness Manikkavasagars reincarnation

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Follow us:WhatsappFacebookTwitterTelegram.cls-1{fill:#4d4d4d;}.cls-2{fill:#fff;}Google NewsThe way Manikkavasagar addressed god was very different – it was rational and scientific. There was a Vedic knowledge that was in-built in his prayers,” says city-based director G Krishnamurthy, explaining his choice of staging Vadavooran, in the city next week. The Tamil play is the story of Vadavooran, the Chief Minister of the Pandya Kingdom, who went on to be known as Manikkavasagar, the Tamil poet popular for his Thiruvasagam, a collection of hymns in praise of Lord Shiva.Legend has it that the king assigned Manikkavasagar to purchase horses for his cavalry, entrusting him with a large sum of money. On his way to make the purchase, Manikkavasagar is said to have met a devotee of Shiva, who is believed to be Shiva himself. After the meeting, the poet was inspired to renovate a Shiva temple in Tirupperunturai with the money he was carrying. “We’re starting with the scene where Vadavooran is in jail. We’ve created a fictional character – a senathipathi – who is trying to get information about the money on orders of the king. But this senathipathi is also an admirer of Vadavooran,” says Krishnamurthy. And then there is a flashback. “We’ll then try to explore what really prompted him to go against the king’s orders,” Krishnamurthy adds.The one hour and 50 minute play has been narrated in an opera style with a non-linear presentation. “We’ve given Manikkavasagar a very human-like treatment,” says Krishnamurthy. “The challenge in directing this play is to present it in a convincing way that’s appealing to the modern audiences,” says Krishnamurthy.The highlight of the play is definitely the rendition of the hymns by singers S P Balasubramaniam and Vani Jayaram. “There are 20 songs in all and SPB has sung 14 – 16 of them,” reveals Krishnamurthy.Manikkavasagar’s words are relevant to today’s Tamil. “There is hardly any use of Sanskrit in his works,” explains Krishnamurthy. In an attempt to bring out the beauty of the songs along with the narrative, Krishnamurthy says they’ve made plausible assumptions. “We’ve tried to understand the instances that could have prompted him to write each stanza to weave the songs with the story,” he says.The dialogues also play an important role in the production. “After a lot of research, I’ve created a dictionary from the songs to find out what words were used and have tried to use as many as we can in relevant places,” Krishnamurthy informs us.Written by C P Aaryaan, with music by R Giridharan and Amudan, and set design and special effects by G Ramesh, Vadavooran will be staged between September 21 and 23 at the Kamarajar Arangam, Teynampet. For details and tickets, call 9884304782, 9600035375.first published:September 15, 2012, 08:13 ISTlast updated:September 15, 2012, 08:13 IST
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The way Manikkavasagar addressed god was very different – it was rational and scientific. There was a Vedic knowledge that was in-built in his prayers,” says city-based director G Krishnamurthy, explaining his choice of staging Vadavooran, in the city next week. The Tamil play is the story of Vadavooran, the Chief Minister of the Pandya Kingdom, who went on to be known as Manikkavasagar, the Tamil poet popular for his Thiruvasagam, a collection of hymns in praise of Lord Shiva.

Legend has it that the king assigned Manikkavasagar to purchase horses for his cavalry, entrusting him with a large sum of money. On his way to make the purchase, Manikkavasagar is said to have met a devotee of Shiva, who is believed to be Shiva himself. After the meeting, the poet was inspired to renovate a Shiva temple in Tirupperunturai with the money he was carrying. “We’re starting with the scene where Vadavooran is in jail. We’ve created a fictional character – a senathipathi – who is trying to get information about the money on orders of the king. But this senathipathi is also an admirer of Vadavooran,” says Krishnamurthy. And then there is a flashback. “We’ll then try to explore what really prompted him to go against the king’s orders,” Krishnamurthy adds.

The one hour and 50 minute play has been narrated in an opera style with a non-linear presentation. “We’ve given Manikkavasagar a very human-like treatment,” says Krishnamurthy. “The challenge in directing this play is to present it in a convincing way that’s appealing to the modern audiences,” says Krishnamurthy.

The highlight of the play is definitely the rendition of the hymns by singers S P Balasubramaniam and Vani Jayaram. “There are 20 songs in all and SPB has sung 14 – 16 of them,” reveals Krishnamurthy.

Manikkavasagar’s words are relevant to today’s Tamil. “There is hardly any use of Sanskrit in his works,” explains Krishnamurthy. In an attempt to bring out the beauty of the songs along with the narrative, Krishnamurthy says they’ve made plausible assumptions. “We’ve tried to understand the instances that could have prompted him to write each stanza to weave the songs with the story,” he says.

The dialogues also play an important role in the production. “After a lot of research, I’ve created a dictionary from the songs to find out what words were used and have tried to use as many as we can in relevant places,” Krishnamurthy informs us.

Written by C P Aaryaan, with music by R Giridharan and Amudan, and set design and special effects by G Ramesh, Vadavooran will be staged between September 21 and 23 at the Kamarajar Arangam, Teynampet. For details and tickets, call 9884304782, 9600035375.