Shaakuntalam
The Tale of the Hunt

SYNOPSIS AND
DIRECTOR’S MESSAGE

Shaakuntalam is an eco-feminist adaptation of the Sanskrit classic by Kalidasa. The whole process of this production shaakuntalam was initiated from the query, why Shaakuntalam now? The performance takes a leap from the torturous summer of the present day to the tranquil summer as depicted by Kalidasa. This drama Shaakuntalam probes the plot with an eco-feministic sensibility and hence the story of the signet ring, the curse of Durvasa, and the reunion in Acts 6 and 7 are deemphasized so as to highlight the relationship between Shakuntala and Dushyanta. The hunt itself becomes a metaphor with myriad connotations. The king hunts into the serene Ashram which is all blushed with flowering creepers, the vana jyotsna, latha nikunj, deer, birds, lotuses, water bodies, cool wind, flower beds, and the music from the rustling leaves… A perfect set for love and unison, as typical, dreamlike, and poetic as in any of the Kalidasa literature. To this throbbing and reverberating sensuousness, hunts in Dushyanta on a chariot that can affect and de-harmonize the serenity and peace of the hamlet, with his arrows of flower and a bow of sugar cane… Shakuntala and her friends are as innocent and pristine as nature. Dushyanta is none other than Kamadev embodied, assisted by his aides with the ability to sensualize the innocence of the feminine essence with the arrows of flowers. Dushyanta bitten by the heat of love lingers back in the lush greenery of the forest trying all his wits and craft, embodying and recreating the honeybee, elephant, and the Rakshasas as a pretext to save Shakuntala and hence succeeds in courting her in a Gandharva marriage, eventually to forget her. Dushyanta is a ‘lover’ with many women in his life and as his friend Vidushaka points out, after eating all the ripe fruits of the city, he is eying at the ‘imli’ (Tamarind) in Shakuntala. The relationship between Shakuntala and Dushyanta is used as a parable to understand the continuing falsehood of love that focuses on the body of the female rather than true man-woman understanding and mutual inclusion. In the end, Shakuntala is forced to call Dushyanta ‘Anarya’ when love subsides into recognition of reality. Subtle references to racial constructs, rural/tribal conflicts, essence and meaning of ‘culture’, sophistication, etc. are interwoven as the subplots in the narration. The words and lines written by Kalidasa are acquiring a new meaning and are able to resonate deeper connotations in this re-reading of the text. This performance text is counter writing of the play on stage, without admiring or negating the text written by Kalidasa. Towards the end of the play Shaakuntalam, Dushyanta declares in an ephemeral, scanty, and derisory explosion of histrionics that he remembers Shakuntala and offers the ring back to her, which she graciously rejects saying that she does not believe in that ring anymore. She is taken by nature/birds in a dreamlike serenity of independence and comradery of fellow women. The play at another level is a visual translation of the poetry of Kalidasa using paintings, properties, lighting, music, and movement, making the performance a visual delight with an underscore of pain and separation. The atmosphere, art, music, movement, and ethnic ethos represent a pahadi culture that is in contrast to that of the urban; the performance body trying to alienate from the usual renditions of the classic.

Credit

Original Text- Kalidasa • Lyrics- Chandradasan & Irayimman Thampi • Music Direction- Bijibal • Orchestra- Umesh Sudhakar, Kalamandalam Jinesh, & Sanosh Palluruthy, Choreography- Sreejit P. Dazzlers • Set & Art- Samkutty Pattomkary • Properties- Suvi Vijay • Assistance- Sarath Sv • Costumes Design- Shobha Menon • Lighting- Meeta Misra & Jolly Antony • Sound- Justin Paul • Make Up- Pattanam Rasheed & Kalamandalam Vaisakh • Dramaturgy, Text, Design & Direction- Chandradasan