Master of Rasa-Abhinaya
He is considered as the all time great master of Rasa-abhinaya (enacting sentiments in their perfection) with special reference to Netrābhinaya (enacting sentiments, etc. through the beautiful and masterly movements of eyes only). He was exceptionally well in the field of Satwika-Abhinaya. He is considered as "one of the most wonderful theatre actors of the last century".
He was well known for his roles ( which has importance of Satvika-Abhinaya in Koodiyattams ) like Ravana (Katti vesha), Arjuna (Pacha vesha), Udayana (Pacha vesha), Jeemootavahana (Pazhukka vesha) etc.
His abhinaya of Kailasoddhārana (lifting of Kailasa) and Pārvatī Viraha (separation of Pārvatī), enriched with the Netrabinaya and Pakarnnaattam - Abhinaya (actor playing the role of another or more than one character shifting constantly without changing costume), were widely acclaimed.
He was well known for the abhinaya of the slokas like "sikhinishalabham.." of the play Subhadradhananjayam by playing it with mere eyes. He was able to act in detail the Moths falling in and out of the lamp fire by evoking his acclaimed Netrabhinaya, with assigning different rasa's for female moth, male moth and the fire. Guru's Abhinaya of the shloka smaramyavandhyadhipateh sutayah ( स्मराम्यवन्त्यािधपतेः सुतायाः ) from Bhasa's Swapnavasawadattam is also widely acclaimed one.
He was considered a reference to Abhinaya and his ability to perform the same was considered as "perfect" by art critics. His ability to perform Netrābhinaya is considered one of the wonders of the art world, ranking alongside the symphonies of Beethoven.
Noted art critic, renowned scholar of Sanskrit dramaturgy and former director of Samskritaranga- Chennai, Dr.V. Raghavan, had highest regard for the maestro and his Abhinaya -
"Mani Madhava Chakyar when he portrayed Arjuna on the first evening and Ravana on the second, showed himself a master of the expression of the eye".
Kathak maestro Birju Maharaj considered him one of the finest dancers of the millennium -
"He had his own style. He could convey his thoughts through expressions. His eye movement was superb!"
Dr. Vijaya Mehta (Executive Director, National Center for Performing Arts- Bombay, acclaimed Indian theatre personality) about her experience of watching 72 year old Guru's Abhinaya of Parvativiraha as
"(Guru Mani Madhava Chakiar) began playing the dual role of Parvati and Shiva... he sat on a wooden chair...I have never ever seen a Parvati so exquisitely beautiful. I have never seen a Shiva so handsome and so cunning. I sat there and wept as if I were alone in the presence of God. I then realized what theatre was all about — the falsehood of that old man made me arrive at a state where inhibitions and convictions, all became so fluid and beautiful. And this vision has remained with me always" Art critic Stella Kramrisch ( Curator of Indian Art, Philadelphia Museum of Art ), after seeing his Netrābhinaya, described him as
"the greatest eye-wizard of the world."
Famous Bharatanatyam dancer Balasaraswati remarked about the maestro-
"When i say Abhinaya, oh, I can't do the abhinaya like what the great man did here yesterday"
next day after Chakyar's lecture-demonstration at Madras Music Academy in 1973. One of the leading scholars of classical Indian dances, Dr. Kapila Vatsyayan thought
"Mani Madhava Chakyar was the personification of all the greatness of this rich Indian classical art tradition" and "his Netraabhinaya is simply incomparable."
Dramatist Kavalam Narayana Panicker, remarks
"Mani Madhava Chakyar's forte was Satwikabhinaya. Endowed with expressive eyes; that can speak a thousand moods and a countenance that can reflect the range of human emotions in its entirety, Mani Madhava Chakkiar was the master at work" and "The many faces of Mani Madhava Chakyar were indeed the many faces of Kutiyattam. But whatever the costume and whatever the roles, the ability to transform himself from a mere actor to charged character was unique to Mani."
He was known for his extraordinary ability for expressing the NavaRasas (nine Rasas) to its supreme extent and the photos of the same are and being archived in art institutions, academies such as Sangeet Natak Academy of India, and museums all over the world.
Other peculiarity of the maestro was his perfectness while reciting the shlokas in corresponding Raagas.
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