As the sun went down on the Sabarmati river in Ahmedabad, the way to the Natarani amphitheatre on one side of the river bank transformed into a mysterious pathway where a group of children and adults moved amidst the sounds of birds in bushes sparkling with fairy lights. They entered the world of a theatrical production, an adaptation of the 12th century Persian parable, The Conference of the Birds, by Sufi saint Fariddudin Attari. It was going to be a metaphorical psychological journey produced by the iconic Mallika Sarabhai.
Director Yadavan Chandran of the Darpana Academy of Performing Arts, in this latest multiple-level and multi-art production, reflected the true spirit of the performance aesthetics of the Natyashastra, the seminal text of Indian performing arts. He explored the journeys of the human psyche playing with the metaphors of the mirror, shadow, mask, and reflection. His approach intertwined realism and symbolism, technology and performance arts of theatre, dance and music with his statement, ‘My aim was to make everything fly, the space, the characters, and most of all — the audiences’ minds!’
The twilight existence of reality and mental consciousness opened with a one-by-one introduction of the different birds and other characters. On one screen was the actor and the other screen depicted the person’s masked/ costume character. The masks designed by Margaret Matteson and executed by Pandarinathan brought out diverse human qualities reflected in birds, creating a magical reality of performed identities. For instance, Hoopoe stood for wisdom, the falcon for power, the parrot for freedom, the sprightly sparrow for energy, the peacock for pride, the nightingale for love, and the heron for self-centred existence. The birds’ conference worked under the leadership of the Hoopoe to seek their sovereign, a mythological bird ‘Simurgh,’ who lived beyond the existential seven valleys on Mount Qaf.
From ‘The Conference of the Birds’
| Photo Credit:
Darpana Academy of Performing Arts
Reaching out
The story where the birds’ journey evolved in which characters, props, music, dialogue, and lighting generated tension flowing into suspense, unfolding the odyssey of the spectacle. The use of Hindi and English languages created inclusive participation among the audiences. The range of emotions through stories that touched on repulsion, astonishment, and humour captured the young audiences’ imagination, who alternated between clapping, laughing and rapt silence.
In the first part of the production, for instance, the Hoopoe (performed by Mallika) urged reluctant birds to journey with her. Although individually, the stories convey the trappings of emotions and ego that prevent birds from agreeing to the venture, the Hoopoe counters each argument and releases the tension for the story to proceed. For instance, the falcon sitting on the hand of the king is filled with power and does not feel the need to journey to find Simurgh. The Hoopoe counters by explaining the illusion of control that the king focused on his survival will not protect the falcon if the king feels challenged or threatened. Alongside, the interaction of the dainty sparrow braving the journey in contrast to the mighty yet reluctant falcon brought out existing social challenges, such as the issue of the reality of a committed minority of weaker sections in society. Preeti Das, who played the sparrow, expressed, “on each level, it was a journey of personal growth. Although small, the sheer grit and enthusiasm communicated an iron strength.”
Another example is the heron hypnotised in self-centred territorial existence, begins from the point of a full stop to transforming into the shape of its own body, a question mark, and seeks to find himself on a magical journey. “We get so used to our everyday routines and situations that we resist change and limit our growth. The role of the heron has indeed contributed to my personal growth,” said Harsh Dharaiya, who played the role of the heron.
Mallika Sarabhai with the cast of her new work
| Photo Credit:
Darpana Academy of Performing Arts
Unravelling worldly truths
The third part of the production is the voyage across valleys of different existential worlds. However, the intermedial second part of the production connected the first and the third part by unravelling worldly truths surrounding each one and preparing for the valleys beyond. In this second phase of the production, for instance, the blind bat seeks light, only to be told, “how can you see Sun when you live in a well!”. In another story, on one side of the high wall in the amphitheatre sat the nightingale singing her love for the ephemeral rose soulfully, juxtaposed on the other wall where sat a princess wooed by a forlorn sufi. The costumes by Anshul Juneja complimented the perfect singing of the nightingale (played by Hiral Brahmbhatt), and the theme of love portraying two love situations drew the audiences to comprehend human foibles.
The large bird flock seek truth and understanding, but the journey is challenging, and many fall on the way. By the time the congregation arrives to complete the last part of the journey of crossing the seven valleys, there are just eight birds to reach the gates of Mount Qaf, the home of Simurgh. The valleys of quest, love, understanding, and coexistence of opposed realities in the valley of harsh winds, the valley of unity, nothingness, and death are metaphors of existence. The essence of each valley unfolded with stories and symbolism heightened the tension and the curiosity about the world and reality of King Simurgh. For instance, the valley of Quest opened with drum beats, shadowy figures moving across the stage, unrolling blank paper creating paths to chart life.
The flock ‘flew’ to the music played by Manikandan Nair and Pazhanivelu. The synergy and energy of flying from one valley to another appeared as transcendental moments created by superb choreography by Hrishikesh Pawar. After that, it was yoga, dance and experience of physical and mental levitation. One of the most evocative experiences was at the door of the seventh valley of death, where the birds encounter the story of three moths ( parwana). The first moth goes near the flame and turns away from its heat. The second gets partially burned, but the third is burnt into ashes. He is the one who submits and dissolves the self in the heat of self-realisation. The intensity is further increased when the beak holes of the mythological bird phoenix become the holes where secrets of suffered life are heard in the wind, the fire consumes the phoenix, and from the ashes, a flame rises to give birth to a new phoenix.
As the production neared the finale, the aesthetical use of light, shadow, and sound created a heightened poignancy in the dark and raised the power of mythic motifs. Metaphors of shadow and mirrored reality drew the audience is the surreal world of Mountain Qaf. The battered birds enter the world of Simurgh, the king of birds, only to find that the actual ‘king’ is within themselves. They look into the lake only to see their reflection. The backdrop screen reflected the bodies of the birds, and the mythic motifs merged into a single point of shadowed reality. Without being overly didactic, the production took the audiences on an adventure to question their present social validity and understand themselves.
After the first successful run of the production in December, the second run is from January 26 at Natarani Amphitheatre in Ahmedabad.
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