எம்.டி.முத்துக்குமாரசாமி: Introduction to "Unblinking Final Report on the Moon" Dramatic monologues and Dance Dramas- M.D.Muthukumaraswamy

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Illuminating the Unblinking Modernist Verse: Theatrical and Philosophical Explorations

As the author and translator of my own verse plays, originally written in Tamil and now rendered into English, I embark on this exploration with a dual perspective—both as a creator weaving intricate poetic worlds and as an interpreter tasked with preserving their essence across linguistic boundaries. These plays, presented in “Unblinking Final Report on the Moon," traverse the realms of dramatic monologues and dance dramas, embodying the spirit of Tamil literary and theatrical traditions while engaging with universal human experiences.

The Dramatic Pulse of Verse: A Performative Medium

Modernist verse has always been a vessel for intensity—a form where language ascends to rhythm, cadence, and imagery, encapsulating layers of meaning. In plays such as Aravan, Matri, Moisture, and Dust, the medium of verse is not merely ornamental but an integral part of the theatrical fabric. Each line is imbued with performative urgency, inviting actors and audiences alike to traverse the spaces between spoken word and embodied action.

Consider Aravan's proclamation: “My name is Aravan. / A sacrifice for war, / A witness to war.” This declaration pulsates with self-awareness, challenging the boundaries of sacrifice and agency, echoing in the theatrical silence that follows.

The monologues unfold as dynamic spaces of reflection and transformation. In Madhri, the protagonist’s meditation on womanhood—“My fruit is neither Nakula nor Sahadeva. / It is my full realisation of womanhood— / The primal secret of this universe”—merges the personal with the cosmic, creating a textured interplay of voice and gesture. These lines demand a performative treatment that encompasses both the corporeal and the metaphysical, where every pause and inflection resonates with profound significance.

Dance Dramas: Embodying Myth and Movement

The dance dramas, such as The Sound of Moaning, The Gilded Twilight, and Come as the Wind, fuse the lyricism of verse with the visual expressiveness of movement. These compositions are rooted in the Indian aesthetic tradition where dance and drama coexist as intertwined forms. The choreography becomes a narrative device, translating the poetic into kinetic energy.

In The Sound of Moaning, the exploration of grief and memory unfolds through layered imagery: “You, I, the sound of moaning / You, I, fluidity, / You, I, memory.” The lines ripple outward, inviting an interpretation where the dancer’s body serves as a vessel for collective mourning.

In The Gilded Twilight, the interplay between light and shadow takes centre stage, mirroring the characters’ internal conflicts. The dance sequences evoke a twilight realm where emotions are amplified through gestures, mirroring the poetic invocation: “Through the mirror, / my aged form stares / at my youth— / a twilight gilded in gold.” Here, performance transcends language, grounding the abstract in the tangible.

Philosophical Underpinnings: A Dialogue with Existence

At the heart of these plays lies a philosophical inquiry into existence, identity, and transcendence. Drawing from Tamil literary traditions and Indian metaphysical thought, the narratives engage deeply with questions of selfhood and the human condition. In Moisture, the relentless pursuit of meaning finds expression in lines like, “Why must I keep running? / Why can’t I curl up in a corner and lie still?” The play confronts the tension between action and inaction, urging performers to inhabit the restless yearning that defines human experience.

Dust expands this inquiry into the cosmic, reflecting on impermanence and the interconnectedness of life: “Everywhere, dust pervades. / On parked vehicles, it settles thick. / You, with your index finger, / Write your lover’s name upon it.” This act of inscribing love upon transient matter becomes a metaphor for our ephemeral existence, rendered vivid through verse and performance.

Multiplicity of Voices: Gender, Identity, and Transformation

A recurring theme across these plays is the fluidity of identity, particularly in the context of gender and transformation. In Aravan, the titular character’s union with Krishna as Mohini becomes a powerful exploration of gender fluidity and divine ecstasy: “Ah, I must speak of that night of ecstasy— / The all-encompassing Brahman sought me / as Mohini.” This moment resounds with performative possibilities, inviting actors to embody the shifting boundaries of identity with both vulnerability and strength.

Similarly, in Madhri, the articulation of motherhood as a cosmic force challenges conventional narratives, offering a space where performers can embody the dualities of creation and destruction. The plays become sites of liberation, where gendered experiences are not confined but expanded, celebrated, and interrogated.

Temporal and Spatial Dimensions: Constructing Theatrical Worlds

The plays’ engagement with time and space is another dimension that enhances their performative qualities. In Swing Mandapam, the mandapam becomes both a physical and metaphorical stage, a space where past, present, and future converge: “Thousands upon thousands / Gather in the swing mandapam. / Where does balance dwell here?” The structure of the verse mimics the ebb and flow of a swinging motion, compelling performers to navigate its rhythmic duality.

In Moment, time itself becomes a character, elusive and omnipresent: “A moment is made of / Countless fragments of the elemental. / Once dispersed, / It is rare, nearly impossible, / To reassemble in the same way.” The staging of such a concept invites creative interpretations, where lighting, movement, and sound design collaborate to evoke the fleeting nature of time.

An Exploration of Cosmic and Elemental Themes

Expanding on this interplay, Unblinking Final Report on the Moon, Knowing the Ocean, Water world, and Therefore O Love People of the World delve into cosmic and elemental themes, anchoring human experience in the grandeur and mystery of nature.

Unblinking Final Report on the Moon contemplates the silence of the cosmos, positioning the moon as a witness to humanity's follies and aspirations. The lines, “Do you not see the shadows of our arrogance etched on its surface?” invite performers to engage with the reflective and accusatory nature of the narrative. This play’s performative potential lies in its juxtaposition of stillness and movement, where the unyielding presence of the moon contrasts with the restless activity of human lives.

In Knowing the Ocean, the ocean becomes a metaphor for knowledge and its depths, exploring the tension between discovery and destruction. The verse, “Each wave erases a part of us, yet carries forward our essence,” underscores the cyclical nature of human endeavours. Performers are called upon to embody the dualities of creation and erasure, using physicality to mirror the ocean’s ceaseless motion.

Water world extends this theme, presenting water as both life-giver and destroyer. The play’s opening, “Water remembers everything— / The birth of continents, / The fall of empires,” sets the tone for a narrative that spans time and space. Performative interpretations can incorporate fluid movements and soundscapes, evoking the omnipresence and memory of water. The philosophical undertones challenge audiences to consider their relationship with the environment, urging a collective introspection.

Therefore O Love People of the World serves as a poignant call to unity and empathy, weaving together themes of love and interconnectedness. The lines, “We are but fragments of a single soul, / Searching for wholeness in each other,” resonate deeply, inviting performers to explore the universality of human emotion. This play’s lyrical and performative qualities make it a powerful piece for ensemble work, where collective movement and voice amplify its message of shared humanity.

An Act of Translation: Preserving Voice and Vision

As a translator of my own work, I approached the task with an acute awareness of the delicate balance between fidelity to the source and the demands of the new linguistic and cultural context. The transition from Tamil to English required not only a linguistic shift but also a reimagining of the performative elements that define these plays. The cadences of Tamil poetry, deeply intertwined with its cultural ethos, had to find resonance in English while retaining their dramatic essence.

This act of translation is, in itself, a performative gesture—a dialogue between languages, cultures, and artistic traditions. The philosophical and theatrical richness of these plays is thus rendered accessible to a broader audience, inviting them to partake in a shared experience of storytelling and performance.

A Theatrical Invitation

The plays in “Unblinking Final Report on the Moon" are not merely texts to be read but invitations to be performed, experienced, and lived. They traverse the spectrum of human emotion, philosophical inquiry, and artistic expression, offering a canvas where words become action, and action becomes reflection. As both their creator and translator, I extend an invitation to actors, directors, and audiences to step into these worlds, to explore their depths, and to bring their verses to life. Through the interplay of voice, movement, and silence, these plays seek to illuminate the unblinking truths of existence, celebrating the enduring power of theatre as a medium of transformation and connection.

Acknowledgements

I extend my heartfelt gratitude to Koothu-p-pattarai for staging eight of my dramatic monologues in their Tamil original, under the direction of Kalaicholan. To all the talented actors who brought these monologues to life with such vigour and sensitivity, I offer my profound thanks. Your dedication and artistry made these performances unforgettable. I also deeply appreciate Natesh for lending his extraordinary paintings and drawings, which served as evocative backdrops, enriching the visual and emotional texture of the productions.

My sincere thanks also go to Mirnalini Damodaran and her group of dancers, who performed the dance dramas in my English translation with such grace and precision. Their immaculate execution brought a transcendent quality to the works, bridging cultures and languages through the universal language of movement and expression.

The cover of this book is graced by a photograph of the Koothu-P-Pattarai actor Ajithkumar, captured in the midst of a powerful performance of "Dust" in its original Tamil, on August 23, 2022. Natesh's luminous paintings, bathed in light, conjure an illusion of fire upon the stage, enhancing the visual spectacle of the play. Under the direction of Kalaicholan, "Dust" has garnered widespread acclaim for its visual artistry. This captivating image was skilfully captured by the photographer Susai Anand. I extend my sincere gratitude to all those who contributed to this mesmerising photo.

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