Therukoothu Training Workshop and Performance Organized by Yaazh Theatre and Research Foundation – January 2024

 

Therukoothu Training Workshop and Performance Organized by Yaazh Theatre and Research Foundation – January 2024

The promotion of the uniqueness and special significance of Therukoothu (traditional theatre) to the younger generation through experiential learning.

Therukoothu Training Workshop and Performance Organized by Yaazh Theatre and Research Foundation – January 2024

As you are all aware, Yaazh Theatre and Research Foundation in Puducherry continuously functions through theatre performances, theatre training programs, and theatre-related research. Accordingly, we initiated a project titled "Handing over Therukoothu, the pioneering art form of Tamil theatre, to the younger generation through a 10-day continuous training workshop and public performances." 

Objectives and Impact

Through this initiative, traditional Therukoothu artists can also journey towards teaching platforms by establishing their own koothu schools and acting-related institutions. The younger generation, engaged in acting and theatre, will be transformed into individuals experienced in Tamil cultural acting methods combined with music and dance through this Therukoothu training. Furthermore, they will transform into individuals who realize the strength of Therukoothu and the labor required for that art form. In particular, they will begin to speak about the greatness Therukoothu within their peer circles, and the audience base for Therukoothu will increase manifold.

This training workshop was conducted completely as a free project. This was prioritized with the reasoning that marginalized students should not be left out due to economic difficulties.

Workshop and Performance Details

The training took place during the last 10 days of January 2024.

• First Performance: Held on 03.02.2024 at the Art and Craft Village, Ariyankuppam, Puducherry.
• Second Performance: Held in front of a large audience at the Manthaiveli Ground, Kirumampakkam, Puducherry.

 

Number of Participation

16 = 5 Female and 11 Male

Key Contributors and Guidance

• Training Instructors:
• A. Senthil
• A. Govindaraj (Sri Senthilkumaran Nadaga Sabha, Karasanur)
• Avinash Santosh (Sri Mayilam Murugan Nadaga Sabai and Terukuthu Training School)

 

• Workshop Guidance:
• M. Adhiraman (State President, I.P.T.A., Puducherry)
• Dr. V. Arumugam (Retired Professor, Department of Performing Arts, Puducherry)

 

• Workshop Director:
• Dr. G. Gobi (Yaazh Theatre and Research Foundation)

 

NAAN SAVITHIRIBAIYAI PADIKIREN (I am Reading Savithiribai) a play in Tamil

 NAAN SAVITHIRIBAIYAI PADIKIREN

(I am Reading Savithiribai)

a play in Tamil

Duration = 60 minutes 

Production: Yaazh Theatre and Research Foundation

Playwright and Direction: G. Gobi 

Actor: Arokia Mary Stella. P

Synopsis of the play

"NAAN SAVITHIRIBAIYAI PADIKIREN (I am Reading Savithiribai)" a solo performance play is performing by P.Arokia Mary Stella, an eminent actor of Tamil modern theatre and also a senior actor of yaazh theatre group. This play is based on the life and thought of Savithribai Phule, the great social reformer who was pioneer in the field of Women’s Education and was the founder of first girls’ school in India.

"Battling the social structure, Savitribai not only began teaching women in the country's first school for females, but also raised her voice against rapes and head shaving of widows,"

It is to be noted that she was ahead of time in her thought and action. While fighting against the institutional rigidity and conservative social traditions, she gave the clarion call for equality and empowerment. Her selfless devotion and sacrifice paved the road towards equality, justice and equal opportunity of education for the poor and deprive. 

This Performance text highlights the history of her time and found connection's of the same situations in contemporary society also. This play performed for Teachers, development sector members, non government organizations and rural villages in Tamilnadu, Book fairs and national level theatre festivals in India. Importantly this savithiribai subjected play series this is first attempt in Tamil.

 

 Major Performances: 

1. “Naan Saavithiribaiyai Padikiren” a play in Tamil, at 6th Theatre Festival, Maatru Nataka Iyyakam,Tirupattur, Tamilnadu. - 2018

2. “Naan Saavithiribaiyai Padikiren” a play in Tamil, at navarang national theatre festival, Palakad, kerala.- 2019

3. “Naan Saavithiribaiyai Padikiren” a play in Tamil, at south Indian people’s theatre festival,Chennai, Tamilnadu - 2019

4. “Naan Saavithiribaiyai Padikiren” a play in Tamil, at Dhamma theatre festival, Chennai, Tamilnadu, India. Organized by neelam art and cultural center. - 2022

5. “Naan Saavithiribaiyai Padikiren” a play in Tamil, at Thiruchi Book Fair 2024, Thiruchi, Tamilnadu, India. Organized by Government of Tamilnadu. -  2024

6. “Naan Saavithiribaiyai Padikiren” a play in Tamil, at Chennai literature festival 2024, Chennai, Tamilnadu, India. Organized by Government of Tamilnadu. -  2024

7. “Naan Saavithiribaiyai Padikiren” a play in Tamil, at Purisai national  theatre festival, Vanthavasi, Tamilnadu, India. Organized by Purisai kanappa thambiran parambarai therukoothu school. - 2024

8.“Naan Saavithiribaiyai Padikiren” a play in Tamil, at Chennai Language festival 5th edtion, Chennai, Tamilnadu, India. Organized by DakshinaChitra Museum, Mutukadu, Chennai -  2025

 

Links

http://keetru.com/index.php/2014-03-08-04-35-27/2014-03-08-12-20-14/36842-2019-03-21-12-20-36

https://www.youtube.com/watch?v=lMnKpRgQz_s&t=863s

https://ruralindiaonline.org/article/purisai-a-village-festival-seeks-the-world-stage

https://www.instagram.com/p/DGN9_63zcrw/

Athi Naveena Kazhivarai a play in tamil

  Athi Naveena Kazhivarai 

a play in tamil 

Production: Yaazh Theatre and Research Foundation

Playwright and Direction: G. Gobi 

Synopsis of the play

*The Ultra-Modern Toilet* is a social and political satire that explores the impact of modernisation, blind obedience, corruption, and the exploitation of ordinary workers in the name of development.

The play revolves around Rasaq, a temporary government employee working in the Health Department. Like many others, he dreams of securing a permanent government job. When a new leader is elected, Rasaq and his colleagues believe that the leader’s promises of reform and progress will transform their workplace and improve their lives.

The leader introduces an ambitious project involving ultra-modern toilets, inspired by foreign technology and modern sanitation practices. The project is presented as a symbol of development, cleanliness, and national progress. Rasaq is assigned the responsibility of demonstrating the use of these advanced toilets to the public. He explains the complicated procedures, including fingerprint identification, automated water systems, and other technological features.

However, beneath the appearance of progress lies a deeper reality. Rasaq and his fellow employees begin to question whether such modernisation truly benefits ordinary people or merely creates divisions between the privileged and the less fortunate. The pressure to obey authority, the fear of losing employment, and the promise of permanent jobs force workers to accept every order without question.

The situation becomes more disturbing when a businessman proposes replacing Rasaq’s demonstrations with recorded audio-visual instructions, threatening the livelihood of workers like him. Rasaq desperately seeks help through political connections, but his insecurity and dependence on the system leave him powerless.

 Through Rasaq’s experiences, the play exposes the contradictions of so-called development, where technology and modernisation may become tools of exploitation, inequality, and commercial profit. The ultra-modern toilet becomes a powerful symbol of a society that celebrates outward progress while ignoring the dignity, rights, and struggles of ordinary human beings. 

The drama ultimately questions whether true development lies in technological advancement alone or in creating a society that respects human dignity, equality, and justice.   

"Meen vaangalayo Meen” a tamil play

 "Meen vaangalayo Meen” 

a tamil play

Duration  - 50 mints

This play revolves around a story teller of two fishermen’s belonging to Neithal (sea related) landscape. They sell their fishes by telling tales about the fishes in the town. Alongside storytelling, they two dance like fishes and makes children who listen to her to swim all over the space like fishes.

Through storytelling, this play encourages children to develop their colorful imaginary skills, by leaving new fishes in their ocean of dreams. The play also intends to give the learning experience of the fisher people’s of Neithal landscape and their relationship with the ecology and nature.

While a fish vendor, who walks through the streets, exclaiming "Meen vaangalayo Meen” are vanishing. The storyteller selling their fishes to children is the politics rhetoric of the play.

In 2026 Meen vaangalayo Meen play performance crossed 45 + ....

MUTTAI - Tamil Play

 MUTTAI

Tamil Play 

Production: Yaazh Theatre and Research Foundation

Script: Prapanjan (sahitya akademi awardee)

Direction: Gobi

Synopsis of the play 

Muttai is a socially relevant Tamil play that explores the realities of power, corruption, injustice, and the manipulation of ordinary people by those in authority. Through a series of interconnected scenes, the play exposes the hypocrisy of society and the abuse of power within the police system.

The play begins in a village tea shop, where four men discuss the suspicious death of a woman inside the local police station. They angrily condemn the police inspector and speak of punishing him. However, when the inspector suddenly enters the tea shop, their courage disappears. They fall silent, listen to his explanation, praise him, and accept his generosity. This scene reveals the fear, hypocrisy, and submissiveness of ordinary people before authority.

The second scene unfolds on a village road, where an old man carrying trays of eggs on his bicycle collides with a young man. The eggs break, and a quarrel begins. A group of idle onlookers enters the situation, turning a simple accident into a spectacle of mockery, provocation, and conflict. Their behaviour reflects how people can transform another person's suffering into entertainment and how easily public opinion can be manipulated.

The incident reaches the police station, where the old man and the young man are brought for enquiry. The Sub-Inspector questions the old man and treats him as a criminal, while the young man is released after paying money. The police demand tea and cigarettes from the old man, revealing the corruption and exploitation hidden behind the appearance of law and order. When the Inspector arrives, he conducts his own enquiry and ultimately orders the old man to be imprisoned.

In the final scene, Poovamma arrives at the police station to see her husband, Munisamy. The police instruct her to behave properly before allowing her to meet him. The Inspector takes her into a separate room, while the other police personnel eat the food she has brought. Her screams from inside the room expose the terrifying abuse of power and the vulnerability of ordinary people in the hands of authority.

Muttai is a powerful theatrical commentary on a society where truth is silenced, justice is distorted, and power is used to exploit the powerless. The play questions the meaning of law, morality, and human dignity, leaving the audience to reflect on the hidden violence and hypocrisy within everyday life.

Through satire, dark humour, and realistic situations, Muttai brings to the stage the struggles of common people and the structures of power that determine their lives.

                                                                  Major Performance

1. ‘MUTTAI’ (The Egg) Written by Prabanjan, at Gopalankadai village Festival - 2019

2. ‘MUTTAI’ (The Egg) Written by Prabanjan, at Kurunji Vizha, Art & Literature Festival, Ginjee. 2019

Kazhumaram (The Stake) a non verbal play

  Kazhumaram (The Stake)

a non verbal play

Production: Yaazh Theatre and Research Foundation

Playwright and Direction: G. Gobi 

Synopsis of the play 

This drama aims at projecting the invisible impalement device constructed by the authoritative power centre to subjugate every ethnic group, using cunning attacks, through visualization for better assimilation for the audience to experience their struggle. The ultimate aim of the process of impalement is to assassinate the identity. 

1. 
   

Once, the cruel impalement device with sharp spear-like edge was a horrible punishing means. Today's invisible impalement device is equally inhumane; for this strategic killing system is produced by the hegemonic capitalistic rulers to make the native groups fight and kill one another. This drama focuses on throwing light on these moves of the capitalists to create a subservient populace.

The practical execution of this play to reach out and connect with audience, carried out by the physical, mental and emotional actions and directions of the actors and designers, is the core and essence of this drama.

Major Performance

1.  “Kazhumaram” a non verbal play , at Kalari Kram, Aurovile, Tamilnadu, India - 2018

2.  “Kazhumaram” a non verbal play , at navarang national theatre festival, Palakad, kerala, India - 2019

3. “Kazhumaram” a non verbal play , at Bahuroopi national theatre festival - 2022, rangayana, mysuru, India - 2022

4. “Kazhumaram” a non verbal play , at DHAMA national theatre festival, Chennai, India - 2024

Links

https://potraamarai.com/2024/04/25/%E0%AE%95%E0%AE%B4%E0%AF%81%E0%AE%AE%E0%AE%B0%E0%AE%AE%E0%AF%8D-%E0%AE%A8%E0%AE%BE%E0%AE%9F%E0%AE%95-%E0%AE%9A%E0%AF%86%E0%AE%AF%E0%AE%B2%E0%AE%BE%E0%AE%95%E0%AF%8D%E0%AE%95-%E0%AE%85%E0%AE%A9/

https://youtu.be/Gpt-zgVf0DA?si=HnH6ymHi2TKGS1TQ

NIRAYUTHAPAANIGAL (Tamil Play)

 NIRAYUTHAPAANIGAL

(Tamil Play)

Production: Yaazh Theatre and Research Foundation

Playwright: Ariyanachi Ganesan 

Direction: G. Gobi 

 About the Play

The characters in this play are people who have nothing. Like refugees driven from country to country, hunted down and cast out, they have been rendered silent. Not merely yesterday, but perhaps even a moment ago, everything they possessed may have been severed, seized, and thrown away…

Those who stripped them of everything, to the point of leaving nothing behind, have spread across the four directions of this world, proclaiming themselves saviours and crowning themselves with titles of redemption.

These unarmed people, meanwhile, have been pushed into perilous journeys, destined to be turned into obedient servants, errand-runners, and those who bear responsibility for crimes committed by others.

They keep travelling through capsizing boats, trains set ablaze, and borderlands where landmines have been buried.

In this lifeless expanse, the one who offers them a small glimmer of light, as they search for life with hope, is a musician called Nadukkootthan.

It was when Nadukkootthan stood among the great multitude of the unarmed—when he himself had lost everything—that he discovered the subtle art of holding on to love, transforming his own body into an instrument meant only for love.

In his state of being unarmed, he played his body again and again, until he became a great, genderless mother to all those on the journey.

Seeking the lap of this musical mother, the eternalists of the world begin arriving, making themselves unarmed.

As the number of the unarmed unexpectedly grows to a point where they begin to determine the fate of the world, the saviours start to lose their minds.

Finally, in order to preserve their dignity in the face of madness, all the kings and emperors who had come to save the world perform a ritual: they draw their swords and circumcise themselves.

At that moment, the world becomes a place belonging to everyone.

All languages disappear, and only the language of love, spreading its branches, carries the Earth.

The curtain closes.

Major Performances

1. Directed ‘NIRAYAUTHAPANIGAL’ (The Castrtes) Written by Ariyanaachi, 2 days show at INDIANOSTRUM THEATRE, Pondicherry. 2016

2. Directed ‘NIRAYAUTHAPANIGAL’ (The Castrtes) Written by Ariyanaachi, at South Indian Theatre Festival, Thanjavur. 2017

3. Directed ‘NIRAYAUTHAPANIGAL’ (The Castrtes) Written by Ariyanaachi, at Sangeet Natak AkademiTheatre Festival, Puducherry. 2017