Mathanavelu Pillai
Theatrical career
Theatrical career
-----------------

Pillai acted, scripted his dramas, managed and staged several street theatre or [terukkuttu](/wiki/Terukkuttu "Terukkuttu"). Terukkuttu.Mills, Margaret H.; Claus, Peter J.; Diamond, Sarah (2003\). and later contemporary drama productions, under his Devaki Dramatic Troupe in Singapore and Malaya between the pre\-Japanese Occupation years, 1925 to 1959 as documented in the commendation letters that were issued by the British, handbills, drama posters and other memorabilia over a period of 28 years of service to the theatre arts with an inclination towards contemporary dramas during the post\-colonial years. Pillai was also invited to play the harmonium or manage productions for aspiring companies due to his versatility in theatre arts.

### Plays and performances

Pillai was an avid reader and an enthused playwright, who dramatized Hindu epics and characters of [Vedic](/wiki/Vedic "Vedic") [puranas](/wiki/Puranas "Puranas"), famous Indian folklores told as early as the 12th century for his drama productions. Some of these tales and biographical characters were adapted and expanded from other non\-Tamil Indian literature and novels for stage presentations such as *[Chandrakanta](/wiki/Chandrakanta_%28novel%29 "Chandrakanta (novel)")* a literature adaptation from an 1888 fantasy novel written in [Hindi](/wiki/Hindi "Hindi") by [Devaki Nandan Khatri](/wiki/Devaki_Nandan_Khatri "Devaki Nandan Khatri").

Pillai's plays were staged on temporary proscenium stages in the rubber and coconut estates throughout 1930s\-1950s, which were set up prior the performances and dismantled after the last show. Earlier all the roles were played by men who had good performing skills and rendered the story through dialogues, soliloquy, singing and dancing and assuming female roles as per tradition.Krishna Chaitanya (1990\). Arts of India. Abhinav Pubns. The performances only started late in the evenings around 9\.00pm and ended wee hours in the morning.Varadpande, Manohar Laxman (1990\). History of Indian Theatre. Abhinav Pubns. p\-21\-57 And due to his vast musical knowledge, it was common for some of his musical compositions to be set according to the music tradition of composing music pieces based on ragas corresponding to the time, season and emotions (navarasas) whenever possible.

A distinct signature of Mathaavelu Pillai's productions was that at the beginning of the play all the actors enter the stage singing, which not only gave a preview of the cast but also created a visual spectacle of the costumes adorned and the scenes and sets under the gas lights and fire torches lit along the performing arena. He had staged and performed as the *Rajapart* (lead protagonist of the play) and *Kattiyangaaran* (The storyteller who introduces the play) and as a lead vocalist and instrumentalist (harmonium player) in various genres:

**Religious tales** \- Alli\-Arjuna., Valli Thirumanam, Bama Vijayam, Nanthnar, Dhurva Sarithram, Ramayanam, Skanda Leela, Kaalava Rishi, Lanka Thaganam, Krishna Leela, Mayil Ravanan, Dasavatharam, Vishnu Leela, Lava Kusa, Dropathai, Arjunan Thabasu, Sri Valli, Markandeyar, Indra Sabha, Vasthirabaranam,

**Folklore / Literature / Historical** – Rani Lalithangi, Pavalakodi, Kovalan, Mayana Kandam\-Harichandran, Kalidas, Sakunthala, Sathyavan Savithri, Sataram, Baktha Ramdas, Mani Maligai, Haridas, Raja Raja Cholan., Ambigapathi, Ali Badusha, Kandi Raja, Desingu Raja, Madurai Veeran, Athiroopa Amaravathi, Sathi Sulochana, Jida Manthiri

**Fantasy** – Alavuddin, Kulei Bagavali, Chandra Kantha,

**Nationalistic themed dramas (1942\)** – Baratham, Desiya Kodi

**Modernism / Contemporary** – Thooku thooki, Rajisha Nadasha, Raja Boss, Boologa Rambai, Bombay Mail, Vidhi, Yen Thangai, Parasakthi, Thuli Visham, 
Gnana Sundari, Pathi Bakthi, Nalla Thangaal, Leelavathi, Inba Kanavu

During the Japanese invasion in 1942, Pillai staged nationalistic dramas to convey [Gandhi](/wiki/Gandhi "Gandhi")’s independence movement messages of Indian self\-rule to the Tamils in Malaya –Singapore who were widely affected by the political changes in India. Thus he used drama as a tool to bridge nationalistic sentiments and also bring home closer to the Tamils.

In the 1950s, the gradual shift in the educational, social and economic status of the local Tamil speaking Indians led to the inclusion of appreciation for contemporary dramas widely together with traditional themed dramas in designated drama theatres such as [Victoria theatre](/wiki/Victoria_Theatre_and_Concert_Hall "Victoria Theatre and Concert Hall") and New theatre and not in makeshift [proscenium](/wiki/Proscenium "Proscenium") stages where audiences sat on the ground or less apt badminton hall. Although shows were ticketed at affordable prices, there are complimentary counterfoils that show that those who could not afford were issued complimentary tickets to enjoy the theatre arts.

Although the traditional street theatre consisted of male actors, contemporary dramas in the late 1930s, included female artists in lead roles like Pillai's daughter, Devaki Mathanavelu Pillai.


Can you name some specific nationalistic dramas that Mathaavelu Pillai staged in 1942?