(Last Updated on : 27-01-2009)
K. T. Mohamed was a prominent figure in Malayalam theatre. He was the later chairman of the Kerala State Film Development Corporation. K. T. Mohamed was born in Malappuram district in 1029. K. T. Mohamed attracted wide attention through his very first plays, which deviated from the beaten track and exhibited originality in matter and manner. Itu bhumiyanu i.e. 'This Is the Earth' in 1955, Manushyan karagrihattilanu or 'Man in Prison' in 1956, Nanpetikkunnu or 'I'm Afraid' in 1957, Chuvanna ghatikaram or 'Clock Emitting Red Light' in 1959, Velichcham vilakkanveshikkunnu or 'Light in Search of a Lamp in 1961, and Ratrivantikal or 'Night Trains' in 1961 reflected the artistic interests of the theatre festivals conducted by the Kendrakalasamiti of north Kerala. In producing them, K. T. Mohamed used special scenic and lighting effects. In course of time he began to write for commercial companies, at first for the Kalidasa Kalakendra in Kollam and then for his own troupe named Kalinga Theatres. This necessitated incorporation of elements already popularized by the professional theatre, which he applied effectively in plays like Katalpalam i.e. 'Bridge on the Sea' in 1965.
However, K. T. Mohamed continued his innovating work and for this purpose he adopted modern concepts and techniques from European theatre. An influence of expressionism and Luigi Pirandello's mixing of reality and illusion can be found in K. T. Mohamed 's later work, especially in Srishti or 'Creation' in 1970. In later days K. T. Mohamed cinematized it. Yet, one of his best-known film scenarios is the sentimental Thurakatha vathil or 'Unopened Door' in 1970. Thus K. T. Mohamed identified himself to a certain extent with the general trend and at the same time insured himself a special place in contemporary Malayalam theatre by producing thematically varied drama. In literary merit, too, K. T. Mohamed's plays stand much above those written for the popular theatre. Their plots are developed in a meaningful and effective manner and presented in a form that suits the content. The focus lies mostly on the characters' inner experiences, not merely on the episodes.