MUDALAPAYA (Doddata)
Mudalapaya (mUDalapAya) (ಮೂಡಲಪಾಯ) or
Doddata (doDDATa) (ದೊಡ್ಡಾಟ) is a form of folk drama, prevalent particularly in
the north eastern parts of Karnataka. However variants are present all over
Karnataka apart from the coastal Karnataka. ‘Mudala’ literally means eastern
signifying the fact that this theatre is endemic to non-costal Karnataka. They
are called ‘hirE ATa’ and very infrequently ‘Yakshagana’. These are usually
performed by non-professional rural artists on festive occasions under the
guidance of a teacher called ‘ATada mAstara’ or ‘sUtradhAra’. This form is not
more than two hundred years old. Mudalapaya could have referred to a regional
variant of Karnataka SangIta. Most of the rAgas and tALas used in Mudalapaya
have sprung from this school of music. The story line and the costumes might
have been later additions. (?)
These performances are usually based on full fledged
texts, having mythological stories and episodes as their thematic content.
Usually these themes are based on battles and warfare because of an emphasis on
valour and courage. ‘Lava-Kusha’, ‘Bheemarjunara KaaLaga’, ‘Krishnaarjunara
KaaLaga’, ‘Lankaadahana’ and ‘Keechakavadhaa’ are some illustrations.
Otherwise, they are focused on a wedding as exemplified by titles such as
‘kanakAngi kalyANa’ and ‘ratikalyANa’. Of course even in these plays weddings
are preceded by long drawn battles. Hence the basic emotions of Mudalapaya
plays are valour and awe. (Veera and Raudra) Playwrights such as gandigavADA
bALamBaTTa, nEsargi basavaNNappa and nalavaDi srIkanTashAstry have composed the
texts for these performances. Usually the play begins with a prayer in the
green room itself. At the outset the Sutrdhaara enters the stage and offers his
prayers to Lord Ganesha and Shaarade. This is followed by an episode involving
bAlagOpAlas.
The charioteer (sArathi) who
makes his appearance at this stage plays a crucial role in this play. He is the
one who introduces all other characters of course in a stylized manner. He
endears himself to the spectators by his originality and an enduring sense of
humour. He is also called ‘hanumanaayaka’. He is present on the stage almost
through the entire performance. He is a product of pure folk genius.
Doddaata
performances are extremely energetic and require lot physical stamina and
consummate skills because valour is their tour-de force. This is evident in the
dialogues, songs and the dances associated with it. The characters deliver a
series of high flowing sentences full of Sanskrit words and internal rhyming,
in a very high pitch virtually without any break or a change in modulation. The
songs reveal a fair share of folk elements even though they are based on
Karnantak music. Most of the songs are rendered by the ‘sarathy’. The
background musical support consists of more than five instrumentalists. It is
virtually a group. The instruments are maddaLe, gunDatALA and mukhavINe.
Harmonium has made a late entry.
Mudalapaya
dramas are held on a raised platform built of boards, bamboo and such material.
It is called ‘kaTTalu’.
Dances lend a special aura to
Muadalapaya performances. Sometimes the heroes and demons succeed in breaking
the very platform on which they are dancing, with their vigour and vitality.
They consist of movements of two or three steps. Big crowns made up of cut glass and other
trinkets adore the male characters. They wear broad shoulder bands also.
(bhujakeerthi) They are armed with mazes, arrows and bows. Woman characters
wear zari sarees and smaller crowns.
Of late some modern directors
have tried to bring about certain innovations in the performance of these
productions.