The traps of life and death
POORVA TAMHANE is impressed with the depiction of the famous Kurukshetra battle from Mahabharata
Delhi-based writer-director Atul Satya Koushik’s, Chakravyuh, as the name suggests, is an apt depiction of the Mahabharata’s famous Kurukshetra battle that takes place on the thirteenth day. The major appeal of this play, however, is the role of Lord Krishna essayed by the famous television actor Nitish Bharadwaj. He is known and remembered for his highly impressionable portrayal of the same for BR Chopra’s widely successful television saga, Mahabharat.
The play brings to light relatable aspects of the human condition through its philosophical portrayal of various godly characters, especially that of Abhimanyu and Krishna. Chakravyuh which literally means a multi-tier defense formation, serves as a metaphor for modern man’s existential crisis and dilemmas. The play therefore would appeal to both younger and older audiences as it gets the point across beautifully. It has a cinemalike appeal and the stage setup, performances, costumes and narration all have a similar flamboyant hue. Perhaps the most striking feature of this play is its language as it is performed in the form of verses which in its poetic form offer valuable lessons on life.
The play begins with the entry of Lord Krishna in Kurukshetra who expresses in a heartfelt manner the inescapable Chakravyuh of life and death and the ravages caused by war. All throughout the play, he is a quiet presence on the scene who intervenes at the right moments and offers his pearls of wisdom in the most mesmerising manner. What stands out in particular are the exhilarating and adrenaline-inducing action sequences which make the audience hold its breath and pray that young Abhimanyu doesn’t get struck. It is interspersed with voiceovers and instrumental music which adds to its dramatic aura.
Another character to watch out for is that of Duryodhana, the chief antagonist in the play. His animosity towards Abhimanyu is aptly depicted. The fact that Arjuna is away and the Kauravas challenge the Pandavas to combat is portrayed well, as is their malicious scheming. Martial skills are shown with the use of bamboo sticks and formations on stage. Yudhishtir’s inability to convey to Arjuna the passing of his son too is explained well in the form of discourse. The female characters of Subhadra and Uttara were emotive and enthralling all the same. The lighting and smoke effects made the play theatrical and engaging.
Towards the end the mood becomes reflective as the intense sorrow of the Pandavas makes the audience empathetic and look to the silent observer that is Lord Krishna. As if on cue he smiles his iconic smile and explains to Abhimanyu’s widow Uttara to have courage and raise their child on her own as every woman has a male element within her and vice versa. Thus, analysing the destiny of man and the generations to come Lord Krishna explains that every human is entrapped within a chakravyuh of one’s own and has to deal with the fallacies of life.