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 A tale of two great actors: Michael Chekhov and Kalamandalam Madhavan - Sreekanth Kartha e-mail: kartha.sree@gmail.com Photos courtesy: G Venu and Rietberg Museum December 21, 2024 Art historian Vinod Gopalakrishnan has a passion for uncovering untold stories in the world of art and culture. On December 6, 2024, at the Kottichetham studio of Natanakairali, Irinjalakkuda, Vinod captivated the audience of Venuji's Navarasa Sadhana workshop and other attendees with a compelling narrative about two great actors: Michael Chekhov and Kalamandalam Madhavan.  Kalamandalam Madhavan  Michael Chekhov Vinod's narrative unfolded Madhavan's path from his humble beginnings to becoming a pioneer in Kathakali and theatre. His dance prowess eventually led him to Dartington Hall in England, where he impressed none other than Michael Chekhov, the legendary Russian-American theatre personality and acting methodologist. This serendipitous meeting brought together two masters at the height of their respective careers. While Chekhov achieved lasting fame as an acting authority whose methods influenced countless successful actors, Madhavan's contributions have remained largely obscure.  Very young Kalamandalam Krishnan Nair and Madhavan (1934) Through meticulous research and analysis of primary and secondary sources, Vinod reconstructed Madhavan's life and artistic journey. Madhavan, who initially trained as a mechanic in Madras, returned to Kerala upon hearing of Vallathol Narayana Menon's efforts to establish Kerala Kalamandalam. He became one of its first students, alongside future legends like Krishnan Nair Asan, Guru Gopinath, and Ananda Sivaram. Madhavan's career took a transformative turn when Swiss Indologist Alice Boner, working with Mukunda Raja (a co-founder of Kalamandalam), selected him to join Uday Shankar's troupe. After six months of intensive training with Shankar, Madhavan debuted the dance production Tandava Nritham, which became an instant hit in Calcutta and Bombay. International tours followed, and Madhavan's performances in the United States and England earned him overnight stardom. One of these performances brought Madhavan to Dartington Hall in Devonshire, England. Dartington Hall, the country estate of Lord and Lady Elmhirst, was known for its patronage of the arts. During his stay, Madhavan participated in Uday Shankar's lecture demonstrations, where his performances caught the attention of Michael Chekhov. The Illustrated London News carried an exclusive supplement on Madhavan's acting on 20 March 1937.  A supplement on Madhavan published in The Illustrated London News on 20 March 1937 At the time, Chekhov, a nephew of playwright Anton Chekhov and a former student of Konstantin Stanislavski, was running the Chekhov Theatre School at Dartington. Chekhov's methods emphasized physicality and imagination in acting, and Madhavan's transformative performance left a deep impression on him. This encounter also contributed to Chekhov's growing appreciation of Eastern approaches to acting. This was in the 1930s when Michael Chekhov was already a celebrated actor, director, and teacher. Chekhov's students would later include renowned figures such as Marilyn Monroe, Anthony Quinn, Clint Eastwood, and Dorothy Dandridge. Despite his international fame, Chekhov admired Madhavan's artistry, showcasing the mutual respect between these two masters of their crafts. However, Madhavan returned to India soon after a few years of phenomenal success in the West. He received a warm welcome at his alma mater, Kerala Kalamandalam. Over the years, he explored roles as a teacher and performer of dance in India and Ceylon before joining the South Indian film industry as a dance choreographer. Madhavan continued to direct dance for movies for the next three decades until his passing in 1988. Vinod emphasized that the purpose of his talk was not to compare the success of these two extraordinary individuals but to highlight the importance of documenting such episodes in art history. His engaging narration was supported by rare photographs from the 1930s, collated by Venuji from the archives of Rietberg Museum, Zurich. Images of a young Krishnan Nair Asan and Madhavan in Kathakali female costumes were particularly striking and delighted the audience. The discussion that followed underscored the need to preserve and disseminate stories of overlooked contributors to art and culture. Attendees included participants of Venuji's Navarasa Sadhana workshop, students from the School of Drama, and art enthusiasts from Thrissur and beyond. Through his presentation, Vinod left a lasting impression, inspiring the audience to value the hidden narratives of the artistic world.  Sreekanth Kartha holds a deep appreciation for Indian classical music, dance, and theatre. He finds joy in spending time with his family and engaging in artistic pursuits whenever possible. He also serves as a Principal Scientist at CSIRO, Australia's national science agency at other times. |
