The Prahlada Nataka (Prahallada Nataka) or Play of Prahlada originated in the Srikakulam and Ganjam Districts of the former Madras Presidency, now southern Orissa, somewhere during the second half of the nineteenth century. This Oriyan play is a relatively recent recasting of an old story referred to already in Vyasa's Mahabharata. The same story is performed in different Indian languages and in different Indian performance genres. The choice for this particular story as the central piece of a local performance tradition appears to reflect the struggle and protest of people against the effects of the British rule, which had a particularly devastating effect in southern Orissa. The Prahlada Nataka style of performance has remained relatively unknown outside its own performance area. The genre struggles with a lack of recognition from the side of the official arts establishment.
Prahlada Nataka narrates the story of the young boy Prahlada's devotion in God Vishnu. His faith saves him from multifarious death penalties imposed on him by his outrageously wicked father, Hiranyakashipu. The story ends with the disembodiment of Hiranya by Lord Vishnu, who appears in the incarnation of Narasimha, half man and half lion. The performance text is in Oriya, but it includes also poetic stanzas in Sanskrit, the classical language of the past. The performance combines music, songs, acrobatic dance, story telling and ritual. Normally a show will last for more than eight hours. During the Kuttu Festival 2005 a condensed version of one and a half hours will be performed.
The Maa Thakurani Prahallada Nataka Natya Samgha uses a performance text belonging to the Jalantara School of performance (Jalantara was a former princely state now located in northern Andhra Pradesh). The play has been choreographed and directed by Guru Shri Biswabehary Khadenga, who has introduced new elements into the form. Shri Biswabehary Khadenga is a highly accomplished writer, director and researcher.
1 hour 30 minutes The enactment of the Story of Prahlada is divided into three parts. The first is a prelude of instrumental music and devotional songs (Poorva Ranga), appearance and dance of Lord Ganesha (the remover of obstacles), entry of Dwari (gate keeper) who warns the audience of the impending arrival of the Demon King Hiranya, appearance of Hiranyakashipu himself, appearance of his wife, Queen Leelavati, and of their son Prahlada (Prahallada), performed by a pre-adolescent boy who sings the glory of Lord Vishnu or Hari. Hiranya has acquired a boon that he cannot be killed by either man or animal.
In the second part, Hiranyakashipu demands Prahlada to stop praising Vishnu. He deploys gurus to teach him about the worship of Lord Siva. Prahlada's unflinching faith in Vishnu and his will-power frustrate the King psychologically. He decides to punish his son.
The action-packed third part features the Demon King's designs to punish, and finally, kill his son through thirteen varieties of danda (physical punishments). In the condensed Festival performance only two varieties will be acted out. Leelavati tries in futile to intervene on behalf of her son, requesting her husband through songs and lamentations not to be so stern and wicked. Prahlada remains protected by his faith and survives all punishments. Finally, the masked figure of Vishnu in the form of a half-man, half-lion (neither man nor animal) bursts out of a pillar, takes on Hiranya in a duel and rips out his intestines.
Shri Biswa Behary Khadenga—Playwright and Director Dr. Ramesh P. Panigrahi—Technical Director Musicians Shri Maheswara Ranaa—Harmonium Actors Kanhucharan Sarangi—Hiranya Mochiram Swain—Production Manager, Makeup
Maa Thakurani Prahallada Nataka Natya Samgha
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