Dashavatar, a folk theatre form with provenance in Sindhudurg district of the South Konkan region of Maharashtra, is particularly popular in rural areas. Sharp wit and satire on public life, intertwined with tales of the 10 avatars of Vishnu as the core theme, characterise the dance drama.
The play unfolds at dusk — most often, late at night — and if the artists catch the pulse of the audience, it usually carries on till daybreak. In this, it has resemblance to Yakshagana of coastal Karnataka. Even while relying on age-old stories from the Puranas, the actors may make sharp comments on contemporary society, politics or even civic issues. Such comments are a work of art — quicksilver tongue at its best. But there is a good chance that you could miss it entirely, because the Dashavatar story is still being told. Just suddenly, out of nowhere, the actor playing Bheema
makes a sharp comment on one of his stage siblings and takes a swipe at the GST while at it. It is over in a flash, and the crowds erupt in laughter because it fits in well with the Dashavatar story. If they catch the satire, they laugh with it. And if they miss, they wait for the next. There is no script, and spontaneity is the key. And it is the skill in dialogue delivery that adds punch.
The Dashavatar troupes are usually invited to perform on some occasion. They have been around for more than 500 years, and were a presence during Shivaji’s reign. A typical group consists of seven to 10 artists, all men who are behind the scenes and on the scene as well. They play Draupadi and Dushashana, both the oppressed and the oppressor. Dashavatar has a pivotal role in a State where theatre has always played a major role in shaping political thinking.
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