The legendary Kalamandalam Krishnan Nair did not care to (or have the opportunity) to train many disciples. Thonnakkal Peethambaran, the veteran Kathakali actor-dancer, who received this year’s State Kathakali award, is one among the very few fortunate enough to be trained by the maverick, while he headed the Kathakali Department at of the RLV College of Fine Arts, Tripunithura. Krishnan Nair noted Peethambaran’s latent capacity and even after his clearing the six-year diploma course at RLV, gave him advanced training at his residence. In RLV, Peethambaran had the benefit of instruction under Kalamandalam Karunakaran and Kalamandalam Rajan also. Prior to his joining RLV, Peethambaran had training under the self-effacing Guru Oyoor Kochugovinda Pillai. He has evergreen memories of early lessons in Kathakali acting taught by Pirappankodu Kunjan Pillai. Krishnan Nair’s meticulous care in polishing every disciple’s performance to its maximum potential benefitted Pethambaran immeasurably. Every one of his cholliyattam lessons was a practical training in how non-conventional realistic elements ( lokadharmi ) could be smoothly woven into the precisely structured orderliness ( naatyadharmi ) of Kathakali, making the presentation enjoyable to the novice as well as the seasoned among the connoisseurs.
In the initial years, Peethambaran used to be assigned characters with the red beard make-up. But it was ordained that he should make a mark in paccha (with heroic characters) and kathi (with negative overtones) characters. In Thrikkadavur Siva Temple, he had to don the role of Harischandra in the unexpected absence of Krishnan Nair. Rasikas as well as veteran artistes, including Thakazhi Kuttan Pillai and Kudamalur Karunakaran Nair, recorded their appreciation of his performance.
Within a few years Peethambaran came to be noted widely for his gracefully impressive figure resembling that of his mentor, commitment to present his best and the ability to come up with something new every time, the brilliance of the humour he builds into the performance in tune with the context and, above all, his team spirit, which endears him to all artistes who come into contact with him.
Invariably Peethambaran’s presentation exudes his thorough familiarity with the multiple dimensions of the character in question and his histrionic skill in creating aesthetic beauty in consonance with the typically Indian theory of appropriateness ( auchithya ).
Paccha and kathi characters are Peethambaran’s forte. But his performance as Thataka in ‘Thatakavadham’, Vishwamitra in ‘Harischandracharitham’, Parasurama in ‘Sitaswayamvaram’ and Bharathamalayan in ‘ Nizhalkuthu’ have earned him an enviable reputation for his artistry. Moreover, these are not roles with choreography resulting from rigorously standardised cholliyattam in any kalari. No other actor-dancer has had the privilege of being assigned all the four main characters in ‘Karnashapatham’ , namely, Karna, Kunthi, Duryodhana and Dussasana.
Peethambaran’s in-depth understanding of the grammar of Kathakali and proficiency in visualising literary pieces have been amply testified to by the ease with which he has symbiotically translated several literary compositions into the format befitting the multifarious complexity of the concerned performing art. They include the following: Ulloor’s ‘Bhakthidipika’ and ‘VeluThampi Dalawa’ and ‘Gurudevacharitham’, authored, respectively, by K.N. Gopala Pillai and Kalanilayam Vijayan. In addition to codifying the text for presentation and formulating the manual of acting in each case, Peethambaran volunteered to don the principal role in all the above plays, thereby ensuring its success every time.
Guru Gopinath, the patriarch of modern dance in Kerala, made proper use of Peethambaran’s contribution to his staging of the Mahabharatham ballet. The experience Peethambaran acquired in choreographing ballet and dance pieces stood him in good stead while he was on the faculty of Jawahar Balabhavan in Kollam. It was Peethambaran, who initiated Margi Vijayan, the current top ranking actor-dancer of female roles, into Kathakali.
Founding the Kathakali club in Kollam, he served the institution for 25 years as its secretary. Subsequently he served also as the founding secretary of Kathakali Artistes’ Organisation, which lobbied the State Government to institute a prestigious award for Kathakali too, on par with other forms of art. He spearheaded All-Kerala Association of Kathakali Clubs too. In all such ventures his mentor Kalamandalam Krishnan Nair was his beacon. The goal was due recognition coupled with a decent livelihood for the Kathakali artiste.
Peethambaran asan ’s energetic and enthusiastic involvement, far-sightedness and commitment came to the limelight during the three years he served on the governing council of Kerala Kalamandalam. He was in the forefront of the long struggle of that unique institution to achieve the status of a University, which was the ambition cherished by its founder, Vallathol Narayana Menon.
Accolades Peethambaran has received include those of the Central and State Sangeeta Nataka Akademis.
