the artist Sujathan; A name that Keralites undoubtedly fill as a continuation of Rangapatam. Ranga Shilpi, who has played for fifty-five years, has set the stage for about four thousand plays.
Sujathan’s is the only name that resonates in around six hundred locations on Shivaratri day alone. Sujathan has surprised Kerala many times by changing scenery as a magician in a story world full of characters created by the director and writer. Sujathan, who lived as a vehicle running between two long bells, now enters a break. He is tired of not conforming to many new age theatrical trends.
Why retreat?
After ten years, this is the best time for professional drama. Lalitakala Academy is encouraging. But this retreat was decided during the Covid period.
Art made by a painter can last for centuries. But the set of the play did not last more than two years. Everything made for it will be destroyed. The sets are made and handed over to the theater team. KPAC does not even have the facility to store them. It was sad that none of the work that had been done for so long was left to show to the next generation. Even when I was with my father, I didn’t take a picture. I’m lazy about that. Don’t even post photos on social media. As an answer to that, I started painting scenes from the plays I did with my father for fifty years in acrylic on a canvas eight feet wide and four feet high. 50 paintings from 50 plays. 365 days he was so busy that he could not even take care of his children properly. There is no Onam in the house. It was during the Covid period that I felt I shouldn’t run as much. It was decided to calm down a bit.
Can’t agree with some trends
The perfection of the painting done for the scene can be seen in the lights on the stage. The universe that makes the spot a light and other lights is indescribable. Earlier there was a light arrangement that could accurately show even the actor’s expressions. Now it’s all cinematic. A 20000 watt light is often used. In the past, two sets even played a two-and-a-half-hour Katutukhitra. But now there will be up to 25 scenes. Each curtain takes four to five days to make. But they do not reach the audience as they are not even five minutes. The scenes are made bigger to bring the new generation closer to the play and for ease of writing.
–>
New lighting is also problematic
New generation lighting is a big problem. At least eight thousand par watt lights are required. Apart from this there are new lights called LED PAR. Seven lights come spinning. These are for live shows and not for plays. This is where three or four lights out of the 200 are used. This par light should be placed at least 30 feet away. But these are placed within four feet of the actors. An intense light falls on the stage. With this, the broadcaster does not get any details about the scene.
Not to underestimate modern systems or situations. But a lack of awareness about its use affects theatre. Can’t agree with this. The scenario was prepared by looking at the whole nature of the play. But the current saying is that everything should be colorful. Drama is the actor’s art. They should not be cut and the scenes of the scene should not enter the audience’s mind. It is known that no one is an integral part of this stage. I’m not going to shut down the drama movement thinking I’ve changed.
Current work
Rajeev Mammili is gearing up for the play written by George Kattapana for Kollam Atmamitra. This is the last post of the season. The Sangeetha Nataka Akademi International Drama Festival takes place from February 5 to 14. It includes sets for foreign teams and stage supplies. It should be done. Then one should calm down. It is decided that only jobs that appear to have positive differences are sufficient. The widely used program is ending. Shouldn’t he stop before asking if it won’t stop this…?
Artist Kesavan Sujathan Rangapadam became Sujathan
Along with his artist father Kesavan, he started building sets for plays in 1967. He learned this art by walking with his father. He made his independent debut in 1973 in George Chetan’s play Nishasandhya at the National Theater in Kottayam. A drama written and directed by AN Ganesan, a native of Ottapalam, starring Kottayam Chellappan and others. Shonur railway station is the setting of the play. A post which will rival the real signal post has been set up at the Thrissur Regional Auditorium. It was amazing then. Drama was popularized by Natak Vandi of KPAC. She only had three curtains that day. It was drawn by my father. Cut out sets came out in 75. The artist was initially named Keshavan Sujathan. Kesavan’s son later became Sujathan. After his father’s death, Rangashilpa came to be known as Sujathan. It is not yet known who coined the word Rangapadam. The correct usage is the word Rangashilpa. The picture is not the only one that draws on the background.
NN Pillai sir There is energy
The locations in the temples are of different sizes. We have to set the scene with that in mind. NN Pillai sir wrote and directed for KPAC the set for Manvantharam was unforgettable. It seems to be 1978. Ajanta is a story that takes place inside the Ellora Caves. A story written by sir NN Pillai and others after visiting Ellora. The KPAC drama group goes to see the cave. As they walked, an old sculptor came down from between two pillars and began to tell a story. People act like characters. NN Pillai sir had bought a manual from Ellora. Black and white photo of Ellora. I prepared the set with that. Its first performance is held at the Tagore Theatre, Thiruvananthapuram. NN Pillai sir and his wife arrived early. When the light fell on the scene, NN Pillai sir said, ‘Omen, this is just like what we saw in person’. The energy those words gave cannot be expressed. The bus set done in 3D on stage for KPAC drama Kayi Utala Tala Paruthi Parut is not to be forgotten. The set made when the shrimp was dramatized was also praised.
An amazing set
SL Puram stone set for girl surprised me too. The setting is home to a nurse who works abroad. He said to do so with pomp. A huge pillar was made in the middle and a gate in the middle. When the curtain rose and the light came on, the sight was incredible. The whole congregation seemed to be sitting in that house. The set made by Bhimasenan of KPAC for the play was also good. He also got an award. It was made with a six-foot revolving platform in the center of the stage and six-foot miniature versions of the sets on it. It was an experiment for a play with 18 different scenes.
There is more to gain than received
No savings. Only an account has been opened for borrowing by the son. There is more to gain than received. Many theater groups have a lot to offer. But things are going smoothly. This was done as an assignment. Now one should quietly do only what seems necessary and different. The children are in the area surrounding this scene. The eldest is Jitin Shyam. Auditorium design, motorized curtain etc. help me The younger Jijo is based in Bengaluru in the field of animation. The Kalamandir built in memory of his father, the artist Keshavan, near his home in Kottayam Thiruvatikal Vellore is also a training ground for playwrights. Rangapadam Sujathan (72) rings the interval bell in a background that looks like a set for various plays. But Kerala is waiting for the next bell. For the next scene as the curtain rises…
English summary : A story about the artist Sujathan
