It was indeed an unusual setting for a Yakshagana performance. There was no stage, no lights, no publicity, no crowd, well…none of the typical paraphernalia of a stage performance. Just a couple of musicians, a solo Yakshagana artist and an ailing art enthusiast in his house in Mumbai. The art lover was confined to the bed but nothing seemed to diminish his passion for Yakshagana, a traditional theatre form from coastal Karnataka combining dance, music and the spoken word in a distinct style. 

As he lay in bed and watched appreciatively, the Yakshagana artist rendered an exclusive performance. A fortnight later, the art patron passed away peacefully. The Yakshagana artist Mantap Prabhakar Upadhyaya had travelled from Bangalore to Mumbai to fulfill the last wishes of C R Belle by giving a solo performance at his bedside. That was in the year 2001.

Seven years and 700 solo performances later, Mantap Prabhakar Upadhyaya is a household name, literally. He was the first to introduce what is called nadumanaeyalli yaksha natya, (dance performance in the middle of the house) the concept of rendering Yakshagana solo performances in homes for a small group of serious art lovers.
Bangalore-based Sanskrit scholar Dr Shatavadhani R Ganesh is the brain behind this chamber concept, providing the script, direction and music to Prabhakar’s performances. 

In the last four years, these two have taken Yakshagana into people’s drawing rooms, offering them an intimate experience, the likes of which cannot be had in proscenium theatres.  As on date, they have visited nearly 400 houses in Karnataka, besides other cities such as Chennai, Mumbai, etc.

Explains Dr Ganesh, “All classical art forms of India are meant for an inquisitive audience on an intimate stage. When artists come home and perform, it becomes a sacred ritual, adding a flavour of spirituality to art. Because of commercialisation, a lot of stigma was attached to Yakshagana; the chamber concept helps to eliminate that stigma.”

Adds Prabhakar, “The finer details of the art is available to the audience at home.  There is so much more interaction and involvement with the art. People can identify themselves with the characters depicted because of the intimacy.”

 Since Yakshagana by nature is theatrical, Prabhakar and Dr Ganesh had to fine-tune it to suit homes. The music was made soft and melodious, and changes were brought about in the costume, make-up, and jewels, so that people of all age groups could enjoy.

Interestingly, Prabhakar essays only women’s roles inspired by the characters of puranic lore. He has chronicled interesting episodes from the lives of Sita, Draupadi, Yashodha, Rukmini, Poothana, Kunti, Radha, Shurpanaka, etc portraying a range of emotions with such conviction that would put any other woman artist to shame. In his very first woman-oriented production Bhamini, Prabhakar was able to weave a refined account of conjugal bliss without a hint of vulgarity. Staged more than 100 times, Bhamini is an endorsement of Prabhakar’s talents.
Prabhakar’s forte is indeed abhinaya. During one of his recent performances called Janaki Jeevana at Bharatanatyam exponent Guru Bhanumati’s house, the small audience of about 27 people shed copious tears watching him tell the story of Sita. The audience seem to undergo all the emotions he vividly depicted, as if on cue.

Said Dr Ganesh in awe, “I have not seen a more resourceful and spontaneous person in abhinaya other than Dr Padma Subramanyam. Prabhakar’s art is manodharma oriented; he is highly creative.”

But why did Prabhakar choose to portray only women’s roles? “When a woman blushes, it is very natural; but when a man does the same, there is more originality, creativity and novelty. It is challenging to develop a certain body language that is not inherently yours, experience those emotions and convey them in a subtle and authentic manner without being loud. A woman’s role is therefore more creative for a man,” informs Prabhakar.   
Offstage though, Prabhakar is as normal as any other man would be, without imbibing any of the mannerisms of the feminine gender. How is the role play then so effective on stage? “It is important to be totally involved with the character, think and feel like her. The ‘I’ or ego has no place here. It should be totally subjugated. Otherwise it would not become an elevating experience.” 

51-year-old Prabhakar is a business man by profession. He does solo Yakshagana purely as a passion, consciously refusing monetary benefits. His musicians get paid, though.

Extending his service to the art community, Prabhakar organises music concerts, dance performances, discourses etc in his own home at Seshadripuram in Bangalore to encourage up and coming artists and build an active network of ‘rasika’s.