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Kadhaiyalla Vaazhkkai, a theatrical adaptation of Imayam’s quick tales, was a stark portrayal of up to date social points
Kadhaiyalla Vaazhkkai, a theatrical adaptation of Imayam’s quick tales, was a stark portrayal of up to date social points
I had learn a curtain-raiser of Prasanna Ramaswamy’s newest bouquet of well-liked Tamil author Imayam’s tales — Kadhaiyalla Vaazhkkai. Even earlier than I watched the play, I knew her capacity to adapt the written phrase for the stage. Although recognized for her non-linear narratives, the theatre director and documentary filmmaker says, this time she opted for the linear. It reveals the belief Prasanna has in Imayam’s phrases. Each are extraordinary creators, with a powerful sense of politics and a uncommon inclusiveness. I not too long ago watched the efficiency of the 4 quick tales. The temper darkened because the play moved from one story to the opposite. The final one notably was gut-wrenching.
The training system
Supply, the primary story, is about our rapacious non-public academic establishments. Gomathi’s (Antony Janagi) twins are simply two years previous. The ‘gross sales woman’ (learn trainer) from Gnanalaya Matric College affords all types of freebies , from gold to land plots, if Gomathi seeks admission for her kids within the faculty. The lure is an excessive amount of for Gomathi and her husband (Prasanna Ram Kumar), who themselves are academics in a authorities faculty. They quickly put together to ship their kids to Gnanalaya. There are scenes that evoke laughter, however the story sends out a powerful message in regards to the commodification of training.
A scene from Kadhi
Visible media ethics
The second, Manalurin Kadhai, is about how the tv media has grow to be faux and flakey. If it’s important to churn out tales 24×7, you haven’t any different choice. Ganesan (Prasanna Ram Kumar), who involves Chennai with goals of doing one thing significant in life, turns into a tv reporter, and assumes the identify Sri Sri. He visits totally different cities each week in the hunt for sensational tales. When he goes to Manalur, he asks his pal Ramu, who lives there, to present him some leads. However Ramu can not consider any. Sri Sri then places collectively a couple of inventory photographs and makes up a narrative by becoming in some folks and occasions. Ramu is nervous that the residents of the city will object to this imagined story. Quite the opposite, he finds folks crowding across the tv crew to get of their quote and face. “Did you see ‘Oru vaaram oru kathai’ final week? I’m there!” How can anybody resist the temptation of being seen on tv. However ultimately, Sri Sri realises the vacuousness of his tales.
On girls empowerment
Veedum Kadhavum, is about two girls. I’m typically requested, “Aren’t issues higher for ladies now.” Imayam and Prasanna inform us the fact. Of their fifties, one girl is a panchayat president, and the opposite, a trainer (performed by Smrithi Parameswar and Janaki Suresh). We might assume they’re ‘empowered’. The president has not stepped inside her workplace after being elected as a result of every thing is dealt with by her husband, together with forging her signature. As for the trainer, her husband operates her ATM card. He simply leaves some cash for her on the desk when she wants. The vacancy, the desecration of their dignity got here via very properly within the story. Now we have not learnt to respect our girls but.
The darkish fact
The darkest and the final — Nanmaran Kottaikkathai. The bull belonging to Muthuraman wins the race and he faces the wrath of the indignant, higher caste villagers. Each he and the bull are killed. However his spouse, Selvamani, is pressured to confess, and signal on a paper that Muthuraman was gored to demise by the bull. To save lots of her kids from torture and humiliation, she decides to go away the village, however is unable to get TC from the college. Prasanna employs music and dance actions to nice impact on this story. Melodi Dorcas performs each Muthuraman and Selvamani exceedingly properly.
All of the actors appeared to know what the tales demanded of them, and have been distinctive. As an illustration, it was troublesome to consider that the grieving, indignant, and decided Selvamani was performed by the identical actor, who performed the Gnanalaya trainer. Even the costumes had a task to play. The backdrops, drawn and projected on the display screen, have been efficient, so have been the music, and lighting. Prasanna had two refrain actors, Raghavendra and Jenny, to mark the motion from one story to a different. Kadhaiyalla Vaazhkkai introduced alive the nuances in Imayam’s tales.
The author is a former decide of the Madras Excessive Courtroom.
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