Knockout Drama: A Boxing-theatre Performance by Aliyar Ali Adapting Beckett in Our Context

Ijaz Ahmed as the young boxer in Aliyar Ali play knockout premiered at Palakad on 8 Jan 2022

Theatre lovers who came to Palakad from all over Kerala were literally knocked down. One of the rare boxing-based dramatic performance in India; Knockout written and directed by the young theatre person Aliyar Ali, was premiered on 8 January 2022 at Palakad. Aliyar Ali comes from a diverse range of academic higher education and production experiences in contemporary theatre and performance from School of Drama Trichur, National School of Drama New Delhi, Royal Academy of Dramatic Art London and many other international performance productions.

Dasan Kongad and Ijaz Ahmed in Aliyar Ali play Knockout at Palakad on 8 Jan 2022.

              Broadly based on and part of a transcultural adaptation of Samuel Beckett’s 1958 absurdist one-act play Krapp’s Last Tape; Aliyar’s Knockout presented the inner struggles of an old boxer and thereby every actor or performer on stage or the world of life at large with esoteric video art, brilliant audiovisual effects and techno simulations including the mysterious air-dropping and spatial interventions of a drone. The physical theatre or sports theatre becomes metaphorical in performance in our context as Prof Deepan Sivaraman, Dean, Ambedkar University New Delhi has observed in his FB promo.

Boxing-theatre with video-art projections as a metaphor of knocking realities of the times in Aliyar Ali play Knockout

The old man and the younger self surfacing through the playing of the old tape; are confronting each other on stage in 13 rounds and knocking out each other to fall and rise in tandem. The life that survives in the mortal contexts of struggle and race is the central theme and concern of theatre. A new visual language and dynamic physical idiom of performance are explored and improvised in the process of performance which is unprecedented in Kerala and India. Physical theatre and bodily nuanced boxing theatre performance in athletic tempo merge into the absurdist realities of our times.

The fight between the old and the young as an externalization of the inner realities and conflits in a schezophrenic soceity and fascit psyche with esoteic physical and sports theatre idiom in Aliyar play Knockout

Earlier Ali has done theatrical performances using football in his Penalty Kick in 2017 based on the short fiction “Higuita” by N S Madhavan. He has also illuminated the Kerala audiences during the silence of the covid pandemic through his unique take on the lasting lives of books in the libraries titled Lib. He has also been acknowledged with recognitions. We are also reminded of V C Harris’ earlier solo adaptation of Beckett’s same play as Krappinte Avasanate Tape in Malayalam done some six years ago and Aju K Narayanan’s short film Krappum Kuruppum (2017).

Old British colonial architecture and crescent moon being part of the theatre performance in Aliyar Ali’s cross-cultural and physical theatre performance Kncockout at Palakad PMG HSSchool near Victoria College

Set and visual design by Sajith K V Cherumakan another young emerging director are simple, captivating and appropriate. The lead performances by the Sangeeta Nataka Akademi award winner Dasan Kongad as the veteran boxer, Ijaz Ahmed as the younger self, Manoj Karate as referee, Biju Vairat, Satyan Kottayi and others as coaches and ring boys are brilliantly executed. Dasettan’s performance at this senior age was remarkable and inspiring.

The lighted drone and video-art projections on the wall in Aliyar Ali play Knockout at Palakad PMG HSS

 Midhun Mohan has visually complemented the play with his video art and wide projections onto the PM Government HS School buildings near Victoria College that formed the stage and context. Mubarak Atmata has also perfected the special video effects. The projections and visualizations created an externalization of the characters and minds in an expressionist way. Akamsh Aku’s vocal improvisations called Beat-boxing in and through his body strokes, rhythmic tapings and vocal cords excelled in body theatre. Lights by Jose Koshy and sound by Satyajit added to the theatrical effects and wholistic dramatic experience.

Fall of the split psyche and survival of the fighting spirit on stage and ring in Knockout by Aliyar

The lethal fight between youth and old age or the past and the present is an external allegorical theatrical trope and anchoring premise of dramaturgy improvised by the playwright and director to suggest the inner conflicts of the human mind in turbulent schizophrenic times. Late capitalism and lethal communalization or cultural Nationalisms of various sorts that otherize our own self as an opponent to be eliminated violently; are intensifying this psychic split and schisms by further compartmentalizing the mind and society into watertight inhuman compartments of othering and violent genocidal combats.

The writer with Suresh Muttathi and Aliyar Ali at the venue of Knockout in Palakad on 8 Jan 2022

 The struggle and love-hate relationship between the sovereign self that tries to master the dissident or different other realms within the self and the struggling and resisting voice of the youthful and upsurging psyche are the subtle artistic connotations in totalitarian times. As in Penalty Kick and Lib Athlete Kayika Nataka Vedi or Body Theatre group and Human Sports Academy Palakad have once again materialized a meaningful cultural act of artful metaphorical representation of reality through Aliyar Ali’s Knockout! Congratulations to the director and his theatre team!

Text and images by Dr Ajay S. Sekher,

Assistant Professor of English, Research Supervisor and Coordinator of Centre for Buddhist Studies, SSUS Kalady 683574.  9895797798.

New Malayalam Cinema and Theatre:IFFK and ITFoK 2010

Theatre, painting, cinema and more: Sagara Kanyaka by Abhinaya

Malayalam film and theatre are vibrant and dynamic, show the international film and theatre festivals just held in Thiruvananthapuram and Thrissur respectively in December 2010. The passing year points towards a hopeful future for our art and struggles.

Dramatic spirit of Latin America: A Chilean play, ITFoK 2010

These festivals that showcase our contemporary cultural productions, represented the live and invaluable expressions of Malayalam artistes and directors belonging to the younger generation in purticular.  Films by Shyamaprasad, Dr Biju, Vipin Vijay etc. prove that cinema is entering a serious bold hybridity of creative enquiry and political sensitivity. With Electra and Chitrasutram Malayalam cinema intervenes in culture, politics and history in a whole new way.

Of endless female desires: Parvathy in Sagara Kanyaka

In films like Vipin’s Chitrasutram our cinema delves into a queer new phase of subversive and critical exploration in both the cinematic medium and message.  The young director uses the potentials of bizarre visuals and cyber sounds to express a serious critique of the world of cinema, representation and the world of his own linguistic culture.

Reghuthaman and Parvathy in Sagara Kanyaka

The film is a radical response to cultural elitism and fascism that thrive in contemporary culture in Kerala.  It is a creative response to chauvinism and cultural hegemony that are reproduced even in cyber culture in Malayalam.  The surreal imagery and fragmented narrative attract the next generation viewers who are interested in the future of our small culture and society.

Beyond tribal and folk theatre: From an Assamese play

The plays staged at ITFoK also proved that Malayalam theatre is on par with any other threatrical culture today whether it is Chile or Japan.  Sagarakanyaka an adaptation of Ibsen’s Lady from the Sea by Abhinaya Theatre Research Centre of Trivandrum, directed by Jyotish, featuring Reghuthaman and Parvathy on the lead roles proved to be a total trans-theatrical experience, exploring the polyphonic possibilities of the visual, sound, painting, sculpture, installation, digital art, body and much much more.  The play is also vital for its powerful gender politics and voicing the feminist question.

Seductive and spectacular stage: ITFoK 2010

The play performed by tribal artistes from Assam proved to be really performative and theatrically engaging.  The plays from Latin America revealed the struggles and resistances of people in the third world against imperialisms of many kind in an exhilarating dramatic idiom of drama.  The international festivals of film and theatre organized by the government academia with public fund prove to be meaningful and productive for the large scale participation and overwhelming cultural interest of the people.

Festival of young folks: Theatre students in rythmic dance